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Fh* Monster Tim«s 






PAGE 22 


Volume 1, Number 36 


THE MONSTER. TIMES IS PRODUCED AND CREATED BY LARRY 
BRILL AND' LES WALDSTEIN. Editor-in-Chief : JOE KANE. 
Production/Typesetting Director: RONALD BOOKSTAFF. Media 
Editor: R, ALLEN LEIDER. Associate Editors: MARK FRANK, 
MARK EVANIER, STEVE VERTLIEB, JIM WNOROSKI, BILL FERET. 
Assistant Art Directors : EMANUEL MARIS, JAMES NERI. Contrib- 
uting Writers : GODZILLA, JEFF HORNER, DON THOMPSON, JOE 
THOMASINO, D.A. LATIMER, GARY GERANI, ALAN BRANDMAN, 
BUDDY WEISS, DON FIOTO, DAVID STIDWORTHY, GARY 
BROWN, RON HAYDOCK, GARY SVEHLA, LON TALBOT 
SEYMOUR, DAVID BARTHOLOMEW, JASON THOMAS, ED 
SUMMER, GEOFF OLDHAM, JOE ZANNIERI. Contributing Artists: 
TOM ARMSTRONG, FRANK BRUNNER, TOM SUTTON, NEAL 
ADAMS, GRAY MORROW, BILL NELSON, JIM JANES, BERNI 
WRIGHTSON, JEFF JONES, ERNIE COLON, JOHN- BYRNE, MIKE 
KALUTA. Marketing Director: WARREN CHAPMANS. Contributing 
Photographers: BARRY GLUSKY, EMANUEL MARIS. Circulation: 
SUSAN BROWN, BILL KOEHLEIN. Advertising Manager: LARRY 
BRILL. Creepy Consultant: THE CREEP. West Coast Representa- 
tive: LARRYWALDSTEIN. 

THE MONSTER TIMES, No. 36 October 1974. is published 
monthly by The Monster Times Publishing Company, Inc., 11 West 
17th Street, New York, New York 10011. All rights reserved by The 
Monster Times Publishing Company, Inc. Nothing may be 
reprinted in whole or part in any manner without express written 
permission from the publisher. SUBSCRIPTIONS: U.S.A. : $6 for 
12 Issues, $11 lor 24 issues, $20 for 52 issues. Canada: $12 for 24 
issues, foreign: $20 for 24 Issues. Please allow six weeks for 
subscriptions to become effective. SUBSCRIBER CHANGE OF 
ADDRESS: Allow eight weeks’ notice, and please send an address 
imprint from a recent issue or state exactly how label is addressed. 
All subscriptions, inquiries, address changes or undeliverable 
copies should be sent to : The Monster Times, Post Office Box 595, 
Old Chelsea Station, New York, New York 10011. Printed in 
Canada. Distributed by The Kable News Company, inc. 


Times 


MONSTER MAIL!: 

More praise-laden prose, morbid missives, and mysterious messages from 
TMT readers on this and other planet^ 


WEREWOLF GOES WILD!: 

1n Gary Gerani’s royal TMT filmbook treatment of 

THE CURSE OF THE WEREWOLF, Hammer Films' 1961 lycanthropic epic 


COMICDOM’S FIGHTING FEMINISTS!: 

Comics maven Howard Phillips reports on the plight of the Superheroines of the Comics r? ’'Iv-v-J-'V 
from rare liberated ladies like the Valkyrie to more traditional 4-color females. ' 


TALES FROM BEYOND THE GRAVE!: - 

Our long-awaited preview of Amicus Production's forthcoming terror trip, 
TALES FROM BEYOND THE GRAVE, finally makes it to the pages of TMT 


QUICK, BEFORE IT RUSTS!: 

Scare scholar Jason Thomas presents Part the First of his exhaustive study oj, 
celluloid robots, automatons and mechanical men of all stripes and types. 


RETURN OF THE REVENGE OF THE CURSE OF THE LIVING MONSTER SCENE! 

Being another lively, informative and thoroughly trivial round-up of the latest 
adventures of monsters in the media and other items of nefarious note. 


ATTACK OF THE BUBBLE GUM MARTIANS!: 

Slated to appear way back in TMT #31 , our profusely-illustrated remembrance of 
the great MARS ATTACKS! bubble gum cards finally unfolds in this issue. PAGE 10 


LOVE CONQUERS ALL!: 

At least in our comic strip, it does. This gory LOVE STORY by writer Dez Skinn 
and artist Dave Gibbon should serve as an inspiring antidote to our cynical times 


SIDESHOW SHOCKER!: 

TMT previews MUTATIONS, a horrific new film about a madman who makes good 
by making other people miserable. The most chilling assortment of monsters in many u ,e. 


TELETYPE TERRORS!: 

Our latest collection of current creature events taking place ih every phase 
of the media includes a STAR TREK announcement of a startling nature. 


0”7sp 


SPOCK SPEA KS!: 

eonard Nlnroy leciUreC Ih Fun 'Cfty'recently arrd e TMT creature correspondent, 
—cornered him-for a brief but revealing' interview, the results of which are On view here 


PAGE 28 


PAGE 6 


PAGE 3 


THE LATE FILM ROUND-UP RISES AGAIN!: 

TMT's ever-alert crew of hard-working creature critics dole out words of praise 
and scorn to the latest batch of horror film efforts. 


IT TO 
THE EDITOR 


TotheEditor... 

Doug Murray’s article on heap history In TMT 
#34 was superb. I think it wise editorial 
judgment to provide an historical perspective of 
assorted heap incarnations lest you become, 
shall we say, swamped with mail from, 
chop-licking slime-oozing bog-life aficionados. 
Particularly enjoyable was the crack about 
recurring heapopularity among comic readers 
symbolizing adolescent body-hate (didn’t we all 
go through a phase of melancholy heap 
empathy?). But I digress. The point I was going 
to make was that Mr. Murray has callously 
overlooked several deserving heaps! The best 
one was in the old MAD comics (reprinted in The 
Bedside Mad, it was titled “Outer Sanctum”). 
Obviously inspired by the Hillman character of 
some years earlier and perhaps some similar 
stories. of their own, the E.C. tale was actually 
no more absurd tfian any other heap story and 
could almost be taken straight. Framing the 
story were references to old-time radio drama. 
Were there really any radio heaps? While you’re 
researching that aspect, I turn your attention to 
a story by Theodore Sturgeon called “It.” First 
published In Unknown in 1940, it may well be 
thegrandaddy of all heap escapades! 

DanErwine 
San Diego, Calif. 

Thanks for the warm praise and hot information, 
Dan. Doug Murray has been reading comic 
books so long that he no longer knows what Is 


satire and what isn’t satire anymore. Otherwise, 
we’re sure he would have included the MAD 
muck-monster in his swamp survey. 


Tothe Editor... 

TMT #34 was quite impressive, and your 
“Ladies of the Fright!” article was well done. 
Barbara Steele Is mentioned once in a photo 
caption. You’re right, she Is the closest thing to 
a female “horror star." And I hope you guys can 
get up an article on her for a future issue. The 
Time Machine— a fantastic movie — gets a 
fantastic Jason Thomas treatment ... marvelous 
*‘Ray Griffith 
Chester, N.J. 

Asa matter of fiendish fact, we ARE planning to 
run an article about Barbara Steele in a future 
Issue of this very publication. Stay tuned. 


TotheEditor... 

Alas and alack, TMT #34 is out. I’ve purchased 
every ish of TMT since and including #27, and I 
have to say you’ve reachedadoldrum. Sorry, but 
my two interests thish were your TIME 
MACHINEfilmbook and MADHOUSE preview. 

I liked the filmbook because it included the 
rhemorable lines from a fine flick and gave the 
readers a subjective view of the situation, i.e., 
through the eyes of the Time Traveller. The 
accompanying photos were of interest too. 

Price and Cushing are unquestionably good 
actors, and Robert Quarry’s sudden and huge 
popularity seems not without sound basis, 
either. I am somewhat disappointed that 
MADHOUSE won't be straight seriousness, as 
Price is especially good at this (HOUSE OF 
WAX, CRY OF THE BANSHEE, CASK OF 
AMANTILLADOshort). 

“It Came from the Underground” was 
interesting, but the writer didn’t list any 
publishers so that we might see for ourselves 
the materials described. (But, then, this is a 
fan-of-all-ages newspaper.) 

I wasn’t impressed at all with the William 
Shatner interview. He evidently didn’t want to 
talk, and seemed pressed to accommodate the 
reporter. A more appropriate time for him might 
have resulted in a much better article for all. 

And now everyone knows everything they ever 
wanted to know about heaps, slimes, and 
gooked bipeds. Everyone has his own Interests, 
and this.surely isn’t mine. 

I took particular note of your ZARDOZ review 
because a prominent critic in D.C. regarded 
ZARDOZ as trash, it must be as difficult to 
review this as it is 2001: while classical to 
some, it is surely regarded as celluloid garbage 
by others. I’m glad you didn’t reveal the ending, 
as it not only holds the key to the plot, buT 
should climax thetheme(s) as well. 


“Ladles of the Fright” is another large-scale 
article that will unfortunately Interest many only 
in the instance of a few particular films. I’m 
among these. And Joe Kane has set for himself 
a monstrous goal if he seeks to include all major 
leading ladies of the supernatural (Don't forget 
DRACULA’S DAUGHTER.) 

As usual, your TMT Teletype catches info 
most of us might never come across. Congrats 
on that. 

Of course, I’ll keep getting TMT, but #34 is for 
me at the mediocre level. Sorry, guys and gals. 

And I have a genuine bone (nice word, eh?) to 
pick with somebody. Page 18 runs for the 
second time an ad for a poster entitled “Lugosi 
Meets Karloff." This still is from ABBOTT AND 
COSTELLO MEET FRANKENSTEIN of 1948 
vintage. Excepting an episode of ROUTE 66, 
- Karloff last donned the Frankenstein creation 
guise in 1939’s SON OF FRANKENSTEIN. In 
A&C MEET FRANKENSTEIN, the creation was 
portrayed by Glenn Strange. Let’s give credit 
where credit’s due. 

Continue your efforts, sirs, and let us strive 
for higher and better levels of fantasy /sf/ horror 
literature. 

Robert Smoot 
Three Churches, WrVa. 

TMT encourages readers to send in detailed 
critiques like the above in order to determine the 
failure/ success of various columns and 
articles. While we don’t agree with everything 
Mr. Smoot says, we do appreciate the time & 
effort involved in writing such a letter. You’re 
dead right about the poster ad on page 18 
though ; that’s Glenn Strange, not Kailoff , in the 
coffin. 


TotheEditor... 

Contrary to what you printed on page 26 in 
your last issue (TMT #34) Jack Harris did not 
produce SCHLOCK. 

SCHLOCK was produced by my partner 
James C. O’Rourke for our company Gazotskie 
Films, Inc. and is being distributed by Jack H. 
Harris Enterprises, Inc. (see enclosed ad copy). 

I can naturally understand your mistake as 
Mr. Harris has been associated with so much 
schfockinthe past. 

Keep up the good work with TMT! 

John Landis 
Los Angeles, Calif. 

Thanks for setting the record straight, John. 

Got a gripe? Somethin’ you want to get off your 
hai^ chest? Or, perchance, a nice note of 
praise for your friendly fiends at TMT? Then 
send them straight to us. Remember: ft takes 
all kinds ... and so do we. Address all 
correspondences to: To the Editor, THE 
MONSTER TIMES, Box 595, Old Chelsea 
Station, New York, New York 1 001 1 . 


lit for the masterful CURSE OF 
THE WEREWOLF cover adorning 
this issue of TMT should be divvied 
up equally among Hammer Films 
(for making the movie), Roy Aonton 
(for designing the makeup), Oliver 
Reed (for playing the character) and 
Les Waldstein— for transferring it to 
our cover with great artistic aplomb 
and without making a single major 
mistake. 

THE MONSTER TIMES is back, almost on 
schedule, and we think we’ve lined up a more than 
competent issue for you this time around. Before 
we get around to discussing that, however, a few 
words of congratulations are in order for rock 
musician-composer Frank Zappa. An innovative 
musical force since the early ’60s and the man 
responsible for albums like FREAK-OUT!, WE’RE 
ONLY IN IT FOR THE MONEY, HOT RATS, and 
WEASELS RIPPED MY FLESH, Zappa recently 
exhibited his unwavering flair for the bizarre by 
naming his newborn son Ahmet Rodan, in honor of 
the flying monster of Toho Films fame. TMT wishes 
Frank continued success with his openly hostile but 
always creative music, and also extends best 
wishes to Mrs. Zappa and, of course, little Ahmet 
Rodan. 

The TMT Dept, of Corrections would like to point 
out an error that appeared in TMT M3A. On page 30, 
in the midst of our TIME MACHINE filmbook, the 
copy reads, “As I watched the procession, I had 
degenerated into cannibals and were breeding the 
Eloi like cattle!” Since it is the Time Traveler who’s 
speaking, needless to say that line is in error. Let it 
be known that the TMT art assistant who 
misplaced the lines in that section of our TIME 
MACHINE article has been taken out and shot full 
of truth serum. His full confession is now on a 
special TMT tape and is currently being offered, 
along with other useless materials, to any person, 
place or institution who can promise us a tax break 
for donating the stuff. 

As for the issue at paw, we think it’s just the 
thing to prolong the monotony of those long, hot 
summer nights in which one so often finds oneself 
with nothing to do. For full moon aficionados, we 
have Gary Gerani’s royal TMT filmbook treatment 
of Hammer’s THE CURSE OF THE WEREWOLF, 
one of the very best examples of lycanthropic art 
ever to appear on the motion picture screen. If 
werewolves aren’t your thing, we’ve gathered 
together under one haunted roof all kinds of oth^ 
beings-jof a. strange and remarkable nature. Jasoir 
Thomas contributes Part the First of his two-part 
series on ROBOTS IN THE MOVIES, this time 
focusing on Alien Automatons, Evil Earth Robots, 
and Outsized Automatons, while Howard Phillips 
chips in with a survey of COMICDOM’S 
SUPERHEROINES — and the flagrant mistreat- 
ment of same at the hands of male comics workers. 
Also appearing in the pages of this very publication 
are a pair of scare pieces previously promised 
issues ago but which didn’t surface, for various 
nefarious reasons, until now: Joe Kane’s' profile on 
the MARS ATTACKS! bubble gum card series 
(originally slated for our Martian issue) and Geoff 
Oldham’s report from the sound stage of Amicus 
Productions’ TALES FROM BEYOND THE 
GRAVE. And makeup fans will shake their heads in 
horror, envy and wonder at the creatures who 
populate MUTATIONS, a new horror opus 
previewed within. 

_A11 in all, this issue of THE MONSTER TIMES is 
the- kind of publication you just can’t put 
down.. .not, at least, without fear of serious 
reprisal. □ 



The Monsh^^Rmes 






Among Hammer Films’ earlier 
terror triumphs, THE CURSE OF 
THE WEREWOLF is considered by 
many critics to be second only to 
HORROR OF DRACULA in eerie 
excellence. Terence Fisher’s lycan- 
thropic saga, adapted from Guy 
Endore’s downbeat THE WERE- 
WOLF OF PARIS, starred a young 
Oliver Reed as the afflicted title 
character and featured veteran 
character actor Anthony Dawson in 
a perverse performance as the 
twisted and sadistic Marquis who 
is indirectly responsible for the 
lycanthrppic curse. Gary Gerani 
recounts' the whole sinister story 
of THE CURSE OF THE WERE- 
WOLF in a no-fangs-barred TMT 
filmbook treatment that begins 
herewith... 


Oliver Reed bares 
his bloodied 
fangs, claws at 
his hairy chest 
and gets ready to 
shatter the noc- 
turnal silence of 
the Spanish 
countryside with 
the spine-shiver- 
ingCURSEOF 
THE WERE- 
WOLF, in Ham- 
mers 1961 horror 


hapless youth 


he didn't even 


destroy 


“I'm aware of that also,” the man inter- 
j'upted. “Can't you read'.’" 

The bett.it'tir looked ;it the well-groomed 
man and then turned to the sign the 
gentleman had just finished posting. “No, 
Senor," he said slowly. “I can't.” 

SINISTER CELEBRATION 


^Pome two hundred years ago, a beggar 
(■time to a little Sptinish village in search of 
charity, .'\lthough a simple man, he was 
not so simple that he didn’t know when it 
v\ as ;i weekday and when it was a Sunday, 
and, though the church bells were ringing 
and there was no one in the s«|uare, he 
knew this was not a Sunday. The beggar 
then noticed that at the far end of the 
marki't [dace stood a grim-faced man 
dressetl in obviously expensive garments 
posting a series of documents on the 
building walls. Summoning up all his 
couriige to approach one so clearly 
supcn-ior to himself, the beggar finally did 
just that. “Senor.” he cautiously began, 
"this is not a Sunday.” 

■'I'm aware of that," came the 
disintf'rested reply. 

“P)Ut there's no oni' in the streets, and 
the church hells are ringing..." 


Walking down the lonely village streets, 
the beggar finally came upon a tavern 
filled with loud, boisterous voices. One of 
these voices, belonging to a fat, bearded 
drinker, provided the beggar with a 
straight answer. “Today is a holiday," the 
fat man said cynically. “A public holiday! 
.'\ day of rejoicing! And we’re all rejoicing, 
iiren't we. my friends!!'?” The entire room 
burst into angry laughter. "Our beloved 
Mar(|uis is getting married!” the bearded 
speaker venomously explained. 

"Is. ..is that a good thing'?" asked the 
beggar. 

. “And who’s had to pay for the 
wedding.. .we have! And who’s paid for the 
bride, [)oor child! And who’s paying for 
thiit feast that's going on up there at this 
very moment, ..we. all of us, have had to 
pay — by order!” 

The fat man stopped his drinking for a 


A TMT FILMBOOK 
BYGARYUERANI 

























page 4 


Deranged werewold prepares to pounce on pietty 
prey in this behind-the-scenes pubiicity shot 
from CURSE OF THE WEREWOLF, considered 
to be one of the very best of the Hammer horrors. 



The Monster Times 


‘I.. .1 can’t sing." 

“Dance, then!” the Marquis quickly 
retorted. “Anyone can dance! Music! 
Dance! Dance!” 

The beggar stood for a moment staring 
- bl ank ly-a t th e- -Marquis; -The harpsichord 
music had already started, the hooting 
and jeering of the master’s guests became 
almost deafening. Slowly, thoughtlessly, 
the beggar began to dance. 

Throughout this display the onlooking 
bride donned a silent expression of 
sympathy for the abused stranger, and 
her husband, upon seeing this reaction, 
gleefully transfigured it into a new angle 
for the beggar’s humiliation. 

“Would you like to have him, my 
dear.. .as a pet!’.'’” 

The Marquis then reached into his 


pocket, tossed a handful of shiny coins at 
the bewildered beggar, and abruptly 
announced that the feast was over. With a 
final gesture of the master’s hand, his 
guards swiftly removed the newly-bought 
stranger and introduced the beggar to his 
new living quarters — the dungeon below 
the castle. 

DUNGEON OF EVIL 

Imprisoned in this dank, friendless 
place, the beggar was soon forgotten by 
the Marquis and his bride. The only people 
he ever saw were the jailer and his little 
girl, an afflicted child who could not speak. 
"You give him the food,” the old man 
would ramble, “he’s your friend!” Indeed 
it was clear that an unspoken affinity 
existed between the hapless beggar and 
the silent little girl. 

The years passed, and the beggar was 
finally completely forgotten by the 
Marquis. The jailer died; his daughter 
grew up, but still she could not speak. 
Years of being treated like an animal 
caused bizarre physical and mental 
aberrations to transform the once gentle 
beggar; he had become the vile, subhuman 
creature his tormentors had mocked him 
as being so long ago. The ill temper and 
sadistic practices of the Marquis had sent 
his wife to an early grave and lost him the 
few friends he had once possessed. Soon 
he became a recluse in his own home, until 
one day when the mute servant girl 
ventured upstairs. 

“Aha, you’re a lively one!” the mad 
Marquis cackled. “Why not come back 
tonight and show me how lively you can 
be!” The horrified servant girl cringed at 
the clammy touch of the sickly old man, 
and her resistance was hatefully rewarded 
by the decaying Marquis, whose evil 
temperament had not been mellowed with 
age. The girl was thrown into the 
dungeon, but unbeknownst to the cruel 
guards who carried out the deed, the cell 
was already occupied— by a forgotten 
creature that was once a man, and whq 
now salivated like an animal at the sight of 
the beautiful young woman before him. It 
had beeir years, so many long, lonely years 
since he had felt the touch of a woman... 

MARQUIS MEETS MAKER 

Later that same evening the guards 
delivered the presumably agreeable 
servant girl to the Marquis. Far from 
being agreeable, the defiled woman 
entered the royal room with vengeance in 
her heart.. .and a dagger concealedTn her 
clothing. Within a few fleeting seconds. 


A Portrait Of The Lycanthrope As A Young Madman : Leon (Oliver Reed) ciings to a churchbeli and 
snaris at the crowd beneath his hirsute feet (neither visibie here) in an effective fright scene from 
the Hammer wolf opera. 


Imprisoned as a murder suspect, Leon is helpless. to prevent the terrible transformation from man 
into werewolf as the full moon rises, casting its maddening rays into the dark, dank cell. 


moment to take a closer look at the 
inquiring stranger. 

“What are you, a beggar?” 

“Yes, Senor. If from the deepest charity 
of your good heart...” The beggar’s words 
were quickly interrupted by a second 
outburst of laughing voices. 

“We’ve nothing to spare, my friend!” 
the fat man shouted. “I’ve told you where 
our charity has gone. There’s the place to 
go.. .and God knows I wish you luck!!!” 

The beggar took the man at his word 
and climbed the long path leading to the 
castle where, even as he had been told. 


the Marquis was celebrating his weddi. 
day. The great hall of the castle’s dining 
area was filled with visiting gentlemen 
and lords of high station, all slavisly 
doting on the whims of the Marquis like a 
horde of upper class scavengers. The 
beggar’s unexpected arrival turned the 
otherwise dull wedding feast into sadistic 
sport for the cruel and friendless goup. 
“I’m afraid you arrived so late,” the 
Marquis mockingly proclaimed, “that we 
started without you! If you want food and 
drink, you’ll have to sing for it!” The 
begga’-, terrified and confused, nervously 
forced an answer from his quivering lips. 






page 5 


crucifix, hoping desperately that the 
bullet fashioned from it would find its 
mark and end the killings. That night 
Leon limped home with the silver bullet 
embedded in his leg, and Don Alfredo’s 
worst fears became reality. 

“There are elemental spirits at work at 
all times, my son,” the family priest soon 
explained. “Some say that it is to prevent 
the invasion of these roaming spirits that 
the body of man, to whom all beasts must 
kneel, stiffens into rigor mortis after 
death. The demon entering the body then 
finds only a dry and useless shell. 

“Sometimes, however, a spirit enters 
the body while it yet lives, perhaps 
because of some weakness.. .an inherited 
weakness. Then the mind and spirit clash 
for possession of the soul. The mind is that 
of a man, while the spirit is that of the 
predatory wolf...” 

Don Alfredo listened in horror to the 
priest’s painful words, and then realized 
what he had to do. “Whatever weakens 
the spirit of man,” he was told, “vice, 
greed, solitude, particularly during the 
cycle of the full moon when the forces of 
evil are at their strongest, will bring to 
the fore the spirit of the beast. And, in 
turn, whatever weakens this feeling — 
happiness, companionship, love — raises 
the spirit of the man.” 

Don Alfredo knew there was no cure. 
“Only love,” he was told. Only love. 

LYCANTHROPE LEAVES HOME 

Leon grew into a fine young man, and 
the care and affection Teresa and Don 
Alfredo gave him seemed to rid him of his 
terrible affliction. At twenty-one years of 
age, he left them to face life on his own. 

The road leading from the Carido home 
is long, old and bumpy. But Leon does not 
seem to notice the rough ground beneath 
him, or the clouded, uncertain sky above. 
His carefree thoughts are filled with 
untested dreams of success, of fulfillment 
and love. His imaginings, however, are 
momentarily interrupted by a coach that 
splashes mud over his clean clothes as he 
approaches a bottling establisment in 
which he hoped to secure a job. Leon’s 
strong shoulders and ample desire to work 
land him the position anyway, and he 
makes fast friends with Jose Armendino, 
his co-worker. 

The day is a long one, but it matters 
little to Leon. At last he is out on his own, 
free to enjoy life’s excitement. He grows 
even more excited when lovely Christina 
Fernando, daughter of his employer and 
reluctant passenger on the mud-splashing 
coach earlier that day, pays him a special 
visit to apologize for the incident. - 


The Monsfer Tiir 


Roy Ashton’s masterful makeup work, Anthony Hinds' literate script, Terence Fisher’s suspenseful direction and Oliver Reed’s excellent acting all 


Continued on page 30 


■•4 


life left the crippled mind and body of the 
Baflistic Marquis as the dagger found its 
fatal mark. The girl fled from the castle 
and for months lived a desperate 
existence in the nearby woods. Then, one 
day, a neatly dressed gentleman passed 
by. ..and discovered her. 

Don Alfredo Carido was the most 
respected lord of all the neighboring 
villages. Although a wealthy man, his 
kindness and generosity marked him as a 
friend to all people. Since the death of his 
- beloved wife, he lived alone in his great 
house with his life-long servant, Teresa, 
and the two decided to nurse the poor girl 
. he had found back to health. Teresa soon 
surprised Don Alfredo with yet another 
' revelation. “In a few months there’ll be a 
< little baby in the house.. .if the Good Lord 
, spares her!” 

Teresa’s new interest gave Don Alfredo 
; the time he needed to complete his 
..business transactions; at least, it did at 
first. But soon it became apparent that 
something was on her mind, a legend to be 
1 precise, one of those old folk tales more 
nsophisticated people of the time regarded 
Vs sheer nonsense. “You may think me 
’feuperstitious,” Teresa finally declared, 

' [‘but in the village where I was born we 
;l)elieved that a child born on Christmas 
bay was an insult to heaven. That girl 
upstairs is ready to have her baby, and 
.like as not it’ll be born on the very day of 


our Lord’s birth!” 

Don Alfredo dismissed his servant’s 
fears in the beginning but the weeks 
passed by quickly and the holy day soon 
arrived, bringing with it the dreaded birth 
of the poor girl’s child. She died giving him 
life. And when the little boy, named Leon 
by his new foster father, was taken to the 
village church to be baptized, a most 
astonishing thing occurred. During the 
ceremony, the sky darkened, the clouds 
swirled as if by command of some dark, 
powerful presence, and the holy, water in 
the baptismal fountain suddenly rippled, 
bubbled and then began to boil! Teresa 
was sure it was an evil omen. Don Alfredo 
was no longer so certain that it wasn’t, 
and for ten years that uncertainty 
remained unresolved. 

LEON COMES OUT 

Shortly after young Leon’s tenth 
birthday, a series of animal killings 
occurred. It was marksman Pepe 
Valiente’s job to. preserve the livestock of 
the community, and the slaughter of 
several goats and sheep put him in a 
rather poor light with the Mayor. One 
evening a drunken old salt suggested that 
the cause of Pepe’s problems was’ no 
ordinary predator, but an actual flesh- 
eating werewolf. Having tried every other 
method to stop the night stalker, Pepe 
finally melted down the family’s silver 



Driven mad by the lonely years spent in the Marquis’ dungeon, the beggar (Richard Woodsworth) 
wastes no time in foisting his unwanted amatory affections on the mute servant girl (Yvonne 
Romain) who has been tossed into his ceil by cruel castle guards. The unfortunate lass will live 
long enough to rob the decadent Marquis of his life and to give birth to the lycanthropic Leon. 






Five mighty members of Comicdom’s 
Super-Sisterhood. From left to rightj^ 
The Cat, Supergirl, Tigra, 
the Black Orchid and Medusa. 'W'' 


Ml/ST TELL 
THE TRUTH. 




BY HOWARD PHILLIPS 




^^p Mo i pg t fw , f hn es 


_|his month’s controversial topic is one 
that is very often neglected by authors of 
comic book articles: superheroines. The 
reason for this is undoubtedly because 
superheroes are more in abundance, as 
well as being considerably more interest- 
ing and exciting. But don’t go blaming the 
characters themselves. The blame, of 
course, lies with the writers and editors, 
and it’s partly the fault of us readers for 
letting them get away with it. Rarely are 
superheroines even given realistic person- 
alities, and they’re often depicted as being 
either intensely love-struck or incredibly 
warped in one way or another. This is 
probably because men write the stories, 
and what do they know about true female 
personalities? Some prime examples of 
these indirect put-downs are that: the 
SCARLET WITCH loves an android; 
MOON DRAGON is bald; MANTIS, an 
orphan, has an identity problem; TIGRA, 
once a normal, beautiful woman, is now 
literally a cat-woman; TINA, a robot, is in 
love with her human creator; the 
VALKYRIE dislikes all men, and she also 
has an identity hang-up. See what I mean? 
Problems, problems, problems. 

My extensive files incficate that there 
are no less than 35 so-called superheroines 
“employed” in comics nowadays. Outrage- 
ously enough, only 9 of these have ever 
had their own series (only 3 of which are 
still being published), and nearly half of 
the total number belong to Marvel. This 
exhaustively researched piece will 
attempt to cover all of these extra-special 
superheroines, except for the 9 Legion of 
Superheroes women, whom I hope to get 
to in a future article. Meanwhile, we’ve 
got more than enough fantastic females to 
keep us either bored or busy (according to 
our wonts) for the next couple pages. 

MUSCULAR MISS 

The . first female in my alphabetical 
listing ranks among the' worst of the 
current superheroine crop; BIG BARDA. 
This super-strong DC dame is the tallest 
and beefiest I’ve ever seen in a comic. A 
typical Jack Kirby creation, she was 
introduced in an early issue of MISTER 
MIRACLE. She’s a native of the planet 
Apokolips (oy!), where all merciless 
members of her “Female Furie Battalion” 
were specially trained to combat the 
forces of New Genesis, but had a collective 
change of heart somewhere along the way. 
In MISTER MIRACLE #18 (1974), Big 
Barda even went so far as to marry the 
“Master of Escape.” That put an end to 
the absurd series, but there’s a strong, if 
regrettable, chance that she’ll return one 
day soon. 

Another DC distaff character is the 
BLACK CANARY (a.k.a. Dinah Drake 
Lance), introduced in a Johnny Thunder 
story back in FLASH #86 (1947). She 
started her career as a crook who stole 
from other crooks, but Soon became a 
full-fledged heroine, teaming up with the 
Justice Society of America in ALL-STAR 
#38 (1948) and becoming an official 
member of that famed organization 3 
issues later. Her own series lasted until 
1951, sometime after which she married 
Larry Lance, who, tragically enough, was 
later killed in action in JUSTICE 
LEAGUE OF AMERICA #73 (1969). In 
that same issue, she “moved” (that’s a 


modest term!) to Earth I and' joined the 
JLA (the JSA members reside on Earth 
H). While she possesses no permanent 
super-powers, for a while there she was 
able to manipulate sonic waves— a handy 
skill, that. All in all, the Black Canary is 
one of Comicdom’s most eminently 
expendable superheroines. 

The BLACK ORCHID is a real 
mysterious miss. She can fly and boasts 
super-strength, but her identity is 
unknown even to us tolerant (?) readers, 
which I, for one, find annoying in the 
extreme. This slender superheroine made 


Did you know that of the 35 
superheroines working in Comic- 
dom today, only 9 have ever had 
their own series? Are you aware of 
the fact that with all the Superhero 
teams waging war against evil, not 
a one of them is - headed by a 
female? Do you realize the breadth 
and scope of rampant male 
chauvinism in the comics? Well, 
comics critic Howard Phillips does 
and takes the opportunity to offer 
equal time here with this extensive 
study of Comicdom’s 4-color 
queens, from Jack Kirby’s beefy 
BIG BARDA to DC’s dull-witted 
ZATANNA, and explains why the 
superheroines are so rarely repre- 
sented as being the equals of their 
gaily costumed male counterparts. 

Male chauvinist mitt covers Wonder Woman’s 
mouth in a heavy-handed attempt to keep that 
long-suffering lady from telling all about the 
plight of superheroines in the comics. But 
don’t worry— even though Wonder Woman 
has been silenced, we still have the story for 
you, straight from the author’s mouth. 


her debut in ADVENTURE #428 (1973) 
and is currently appearing as a back-up 
feature in THE PHANTOM STRANGER. 
Her initial appearance was advertised as 
being her origin, but it was merely a 
feeble introduction. I’m sure that DC 
knows what an origin is by now, but I 
wonder if they’ll admit that they cheated 
their readers on this one (that’s a good 
way to lose friends. National). 

Little by little, bit by bit. Marvel’s 
crafty crew of writers turned a dirty, 
rotten, subversive Commie spy into a 
“female imitation of Spider-Man.” The 


BLACK WIDOW (Madame Natasha) now 
co-stars with a certain “Hornhead” in 
issues of DAREDEVIL. So far she’s had a 
pretty mixed-up time of it: When she was 
introduced, she tried to kill Iron Man; 
later she fell in love with Hawkeye 
(another criminal- turned-hero); then she 
was indrectly responsible for her 
husband’s murder at the hands of the 
rotten Commie rats; after aiding the 
Avengers and S.H.I.E.L.D. for a while, 
she modified her costume and got her own 
series, before eventually joining DARE- 
-DEVIL. Although she soon found herself 
in love with the blind crime-fighter, she 
still succumbed to the charms of the first 
■ mutant mandrill (that’s a large baboon) 
that came long. A pretty plastic chick, all 
things considered. 

SIGHTLESS SUPERHEROINE . 

CASSANDRA CRAFT is an interesting 
and rather unique character. First of all, 
she’s an esper, i.e., a person endowed with 
at least one extra-sensory power. 
Although this isn’t at all original, the fact 
that she’s blind is; in fact, she seems to be 
America’s first and only sightless 
superheroine. In addition to being gifted 
with “psychic vision,” she, like Doctor 
Strange, is also occasionally able , to fire 
destructive bolts of energy at will. In THE 
PHANTOM STRANGER #22 (1972), she 
joined the mysterious title character in his 
fight against evil, but remains very much 
on the sidelines of these occult tales. 

A bewitching Marvel heroine is CLEA, 
who frequently serves as a minor 
character in issues of DOCTOR 
STRANGE. Strange brou|;ht her to Earth 
a few years ago, and now the two 
mystically-charged beings are very much 
in love. Unfortunately, her supernatural 
powers are greatly weakened' in our 
dimension, and she usually proves to be 
more of* a hindrance than a help to the 
“Master of the Mystic Arts.” Again, a 
female character is forced by sexist 
scriptwriters to take a back seat to the 
dominant raale^supf rhero. 

Marvel’s Inhumans are a race of ^ 
mutants who want' little or nothing to do 
with mankind. A few are homo Sapiens in 
appearance, and one of these is CRYSTAL, 
a beautiful young woman who exerts a 
powerful control over the elements fire, 
air and water. She’s the younger sister of 
Medusa, who’s currently working with the 
Fantastic Four. 

HAWKGIRL (of Earth I) is a pretty 
good female character. .She’s quite a 
woman, especially in that she’s almost the 
same as her counterpart on Earth H 
(except for the fact that “ours” is a citizen 
of Thanagar). Unlike most superheroines, 
this one is married— to Hawkman, of 
course. They began their careers in THE 
BRAVE AND THE BOLD #34 (DC, 1961) 
and before long were awarded their own 
magazine. While Hawkman was eventual- 
ly admitted to the JLA, his wife was not 
(which seems a bit irregular since both of i 
them have the same interest: crime- 
fighting). Hawkgirl, whose Earth moniker 
is Shiera Hall, supposedly knows all of our 
world’s knowledge and can actually fly 
while wearing her anti-gravity belt and 
winged police uniform. The last I heard, 
she and Hawkman left Earth and returned 
to their home planet. 

The only permanent female member of 
the Fantastic Four, the INVISIBLE 
GIRL, acquired the ability to become 
unseen at will and was later able to 
mentally project a powerful force field. As 
time went by, Susan Storm married Reed 
Richards (Mr. Fantastic), and many moons 
later a son was born unto them. Recently, 

Sue has been pretty inactive as a fighting 
member of the FF because she doesn’t like ” 
the way her genius husband neglects her. 
Interestingly enough, she deserted Reed 
when things really got out of hand. 
Obviously, being married to a superhero 
can be exceedingly trying at times. 

With the Kung-Fu craze going strong, it - 
was inevitable that a heroine like 
MANTIS would come along. She’s a sexy 
expert in super-marital arts, with a 
working knowledge of mysticism and an 
empathy with the forces of Nature to boot. , 
She talks funny, primarily because her 
father (Libra, a blind criminal 'with 
hyper-sensory abilities) is German and her 




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Black Canary (a.k.a. Dinah Drake Lance) repels male members of the Justice League of 
America by unwittingly radiating powerful sonic waves in this panel from JUSTICE LEAGUE OF 
AMERICA #75 (1969). Despite the unique talent she possesses and the tragic troubled life she's 
led, this Miss has inspired little affection in our author. 


EVIL’S FOXY FOE 


At one time in her career, the 
PHANTOM LADY was one of the sexiest 
heroines in comics. This was when her 
tales were being published at Fox (after 
Quality and before Ajax). She’s Sandra 
Knight, daughter of a U.S. senator, and, 
though she has no superpowers, comes 
equipped with a black light ray projector, 
which blinds whomever it’s shined upon. 
Although she never wears a mask, no one 


mother Vietnamese. Despite her short- 
comings, the Avengers accepted her and 
her lover, the Swordsman (yet another 
reformed villain), as members. This 
barefoot girl with considerable cheek is 
one of the most ridiculous that Marvel has- 
ever come up with, and I look forward to 
seeing her enter the limbo of discontinued 
comic book characters soon. 

MARVELOUS MISSES 

As far as I’m concerned. Marvel has only 
three good, believable (in most respects), 
well-presented heroines: MARVEL GIRL, 
SCARLET WITCH, and the WASP. As 
fate would have it, two of these women 
are currently “semi-retired” (i.e., they’ve 
lost their series), but Marvel Girl is still 
extant. A mutant with extraordinary 
abilities. Marvel Girl can, among other 
things: move heavy objects telekinetical- 
ly, levitate, create a protective force 
bubble, conquer certain villains through 
sheer brain power, and communicate with 
others telepathically (and we all know hovv 
difficult it is just to communicate at all). 
Professor X, mentor of the X-Men, 
developed, her special powers from the. 
time shp jmned the elite association back 
in 1963. Typically enough for a comic 
superheroine, she’s 'saddled with her love 
for Cyclops, the strongest and best 
X-Man. 

Next on the list of distaff crime-fighters 
comes pretty little MARY MARVEL, 
whom DC recently revived. Originally 
conceived by the staff at Fawcett 
Publications way back in 1942, Mary 
Marvel’s origin tale (in CAPTAIN 
MARVEL ADVENTURES #15) informed 
^ readers that she was the long-lost twin 
sister of Billy Batson (Captain Marvel’s 
alter-ego). Whenever she says “Shazam,” 
she too undergoes a transformation that 
grants her magical super-powers. Accord- 
ing to old Shazam himself, “Mary derives 
her powers from a different g(roup...But it 
still adds up to my name:” Selena— gp-ace; 
Hippolyta— strength; Ariadne— skill; 
Zephyrus— fleetness'; Aurora— beauty; 
Minerva — wisdom. She is, in essence, a 

Aquaman and Mera were publicly wed on the 
cover of AQUAMAN #18 back in 1964. Since then 
her superheroic activities have been severely 
curtailed by her sexist creators, and she’s spent 
most of her time taking on the more traditional 
roles of wife and mother. Even though Mera has 
. been sidelined, we’ve just learned that the 
, Bat-Girl has returned 


smaller, female version of the “Big Red 
Cheese.” The creators of Supergirl were 
obviously influenced by her, and, for all 
we . know, her outfit may have been 
responsible for popularizing the minkskirt 
in real life. Well, it’s a possibility, at least. 

MEDUSA is the elder sister of Crystal. 
Although she’s currently depicted as 
being a farily affable sort, she was once 
extremely antagonistic. Originally a 
member of the evil-doing Frightful Four, 
the Fantastic Four eventually showed her 
the error of her ways. Medusa’s schtick; 
however, is a pretty ludicrous one: he'r 
long, incredibly powerful red hair obeys 
her mental commands. Right now she’s 
working as an unofficial member of the 
aforementioned Fantastic Four. 

Ai^other immigrant from an alien 
dimension is MERA, introduced in 
AQUAMAN #11 (DC, 1963). She possess- 
es many strange powers, including the 
ability to control water and bend it to her 
will. As Superman used to be vulnerable 
to the negative effects of Kryptonite, so 
Mera has a weakness to lead. Having been 
a queen on her own world, she is now one 
on Earth since she married Aquaman, King 
of Atlantis, in 1964. Five (!) issues later, 
Aquababy was born. Though mother and 
child were doing fine at last report, Mera 
has seen little action in the comics of late. 

One of Marvel’s lesser supporting 
characters is MOON DRAGON, who first 
appeared on the scene in DAREDEVIL 
#105. This wonder-working woman was 
the daughter of Art Douglas, later 
destined to become the dynamic Drax, the 
Destroyer. As a youth, her parents were 
slain by a villain named Thanos (there’s an 
inconsistency between her origin and 
Drax’s) and she was later transported to 
Titan where she matured and gained a few 
helpful powers through super-scientific, 
King-Fu-type training. This arrogant, 
egotistical lass now battles for Titan’s 
freedom against the evil forces of Thanos 
and whomever else threatens her adopted 
planet. 

Another of Marvel’s less active females 
is NAMORITA (or Nita, as she is 
affectionately referred to), an extremely 
well-endowed youngster introduced as the 
daughter of Namora, Sub-Mariner’s 
cousin. Her mother was poisoned by 
Lyrra, and, after avenging that crime, 
Nita retired from crime-fighting to attend 
one of our universities (doesn’t Atlantis 
have its own colleges?). 


joined Magneto and his dastardly 
brotherhood of Evil Mutants, but, after 
fighting against the X-Men for a while, the 
pair quit and became A.vengers (more 
villains-turned-good!). The Scarlet Witch 
has the potent ability to cause accidents to 
occur, as well as being capable of creating 
powerful “hex spheres” around her 
enemies. Except for the fact that she’s in 
love with the 'Vision, an android member 
of the Avengers, she’s one of Marvel’s 
Jiest females. 

When DC decided to give Supergirl a 
“new look,” they turned her into a real sex 
objecL She’s come a long way (?), but it 
has been 15 years since she was 
introduced back in ACTION #252. 
Naturally, she’s Superman’s cousin, and 
her powers are the same as those of the 
Man of Steel. She hailed from the doomed 
city of Argo, which had been hurled into 
outer space when Krypton exploded. Her 
real name is Kara Zor-El, and her earth 
name is Linda Lee Danvers. 


Comics cash in on Women’s Lib movement as 
Marvel’s man-hating Valkyrie gathers super- 
feminist forces for battle on the cover of THE 
AVENGERS #15 (1970). In addition to the. 
Valkyrie, the Liberators also included the Scarlet 
Witch, the Black Widow, and Medusa— she oi 
the legendary locks. 

Having finally graduated from college, 
she’s considering becoming an actress. 

The CAT was an interesting character 
that Marvel introduced a couple of years 
ago. Unlike most superheroines, she was 
awarded her own comic right off the bat 
(or cat, as the case may be); sadly, the 
book ceased publication after only four 
issues. However, this heroine has been 
revived as a cat-woman named TIGRA. It 
seems that hyper-powered Greer Nelson 
was shot with an alpha radiation pistol, 
and in order to save her life a race of 


cat-people arranged for her to be changed 
into a tiger-woman. At the end of the tale, 
she lost the ability to change back. 

MECHANICAL MAIDEN 

As I’ve already mentioned, TINA is a 
“female” robot, a fighting member of the 
Metal Men, and sports a body made of 
platinum. Animated by a microscopic, 
nuclear-powered activator, she is able to 
alter her body’s form and make it do 
anything that the actual element can (e.g., 
she can be drawn into a “living” wire so 
thin that it would take 8,000,000 strands 
to form a cable only an inch in diameter). 
Not even this would-be perfect creation 
functions properly, though (none of the 
Metal Men do). She’s in love with Dr. Will 
Magnus, her creator, and this is attributed 
to a “faulty responsometer.” In other 
words, she thinks she’s a “real woman” 
(How deluded can a person be?). 

Continued on page 27 


has ever recognized her as being Sandra, 
which is, I think, stretching credibility a 
bit too far! (This was the case with the 
original FLASH, too, but years later DC 
claimed that he vibrated constantly so 
that his features vvere blurred.) Having 
been handled by three companies, the 
Phantom Lady was resurrected by DC 
(JUSTICE LEAGUE OF AMERICA #107, 
1973) as a resident of Earth X, which 
exists in a duplicate dimension. 

The ultimate in ridiculousness has to be 
DC s RIMA,.THE JUNGLE GIRL. This 
lady — who has her own comic, no less — is 
an exaggerated embodiment of Nature 
freaks everywhere. When her mother 
died, she was brought by her grandfather 
to live in a jungle, where she gradually 
became accepted by the animals and 
insects around her, befriended them all, 
and learned how to communicate with 
them (shades of the Jungle Books). 
Apparently, DC has chosen not to deal 
with the fact that many of her friends are 
carnivorous; they eat each other, and this 
should inspire no end of annoyance in 
Rima. Instead, she continues to romp and 
frolic with the creatures— wearing all the 
while a dress made from a spider’s web! 
Wake up, Rima. 

Only recently (GIANT-SIZE 
AVENGERS #1, 1974) did we learn that 
Marvel’s SCARLET WITCH is the 
daughter of two former members of 
Timely’s All-Winners Squad— the original 
Whizzer and Miss America. This super- 
heroine and her brother. Quicksilver, are 
mutants. Originally, as orphans, they 


FLASH! BULLETIN!! EXTRA!!! Even as we were going to press, another major develop- 
ment surfaced in the superheroine world: Crystal married Quicksilver. Johnny Storm, 
tong an ardent admirer of the lady, was understandably disappointed by this universe- 
shaking event but, being a good superhero, managed to grit his sparkling teeth and bear 
it. There are probably a thousand things we could say at a moment like this ... but we’ll 
be kind and not say any of them. Besides, to ourway of thinking, the moment says it all. 





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page 9 


I 


Resurrected Restoration gent 
Sir Michael Sinclair turns on the modern man 
responsible for his release in a scene from 
TALESFROM BEYONDTHEGBAVE, 

Amicus Productions’ latest multi-storied shocker, 
and one still waiting to surface in this country. 


_ you liked Tales From The Crypt and 
Vault Ot*Horror, you'll love the latest 
Amicus effort, Tales From Beyond The 
Grave. Once again, the company r^akes 
use of the multi-story concept that’s been 
responsible for most of its earlier hits. 
This time an old antique store provides the 
“hook” upon which the stories are hung. 
“Temptations Unlimited” is the name of 
the shop, and the old proprietor promises 
to cater to all tastes and provide a “novelty 
surprise” with every purchase. He does 
just that, but the novelty surprises turn ouf* 
to be far from innocent! 


Death appears to have reclaimed the demonic 
Michael Sinclair in the final episode from TALES 
FROM BEYOND THE GRAVE. Said tales are all 
based on the sinister stories of British writer R. 
Chetwynd-Hayes and carry on the Amicus 
tradition of creating eerie episodic epics, 
offering four or five fright fables for the price of 
one. 

The film is based on four short stories 
taken from the book, “The Unbidden”— a 
collection of eerie taies by R. .Chetwynd- 
Hayes. The first of these is the story of 
Edward Charlton, who cheats our friend- 
the antique dealer when he purchases an 
old mirror from him. Chariton gives a party 
to show off his find. But the party slowly 
develops into a seance, and Charlton soon 
sees a cold, death-like face in the mirror. 
Later the image reappears and makes it 
plain that he needs victims to give him 
life— victims that Charlton must provide. 
Charlton kills a number of persons for his ' 
new master, and, with each death, the 
image in the mirror looks more and more 
alive. But Charlton Is slowly becoming 
less and less human, and it becomes clear 


that he must be the final victim. Perhaps 
you can guess v/hat happens next, but it 
wouldn’t be fair for me to give it away. 
You'll just have to waitand see the film! 

The second story tells the weird tale of a 
fellow named Christopher Lowe. We see 
Lowe, on his way to his office, stop to buy 
matches from a down-and-out ex-service- 
man named Underwood. Lowe finds him- 
self drawn to Underwood and, in an 
attempt to impress the peddler, steals a 
World War II hero’s medal from the antique 
shop. Underwood invites Lowe to his 
home for tea, and soon Lowe is a regular 
visitor, it becomes apparent that Under- 
wood is trying to pair Lowe, a married 
man, with his daughter Emily. Emily is a 
strange girl, who seems to possess secret 
powers. She eventually lures Lowe into her 
room. Later that night, she presents him 
with a wax figure of his wife, which she 
stabs with a pin. When Lowe arrives home, 
he finds his wife dead — lying on the floor, 
in the exact same position as the doll! 
There are more surprises in store before 
the episode reaches its shocking conclu- 
sion. 

THE MYSTERIOUS MADAME ORLOFF 

Reggie Warren is another unfortunate 
soul who tries to cheat the antique deaier. 
He goes to the shop to buy a silver snuff 
box and, while the owner’s back is turned, 
switches price tags. Warren takes a train 
back home and finds himself sitting across 
from a woman who calis herself Madame 
Orloff. She describes herself as a clair- 
voyant and claims to see a “dangerous 
elementai” on Warren’s shoulder. Madame 
Orloff offers her card to Warren, telling 
him that he will almost certainly . need help, 
and when he does, she’ll be available. 
Madame Orloff’s words prove prophetic. 
That night Warren’s wife is almost 
strangled by an invisible creature. Warren 
remembers Madame Orloff and gives her a 


call. She arrives the next day and begins 
the exorcism. She uses curses and incan- 
tations to fight off the unseen forces— a 
battle that leaves' both the house and its 
owner in a terrible state. Madame Orloff 
leaves, believing that she has expelled the 
foul fiend. Warren and. his wife sit down to 
relax with a drink, but begin to hear 
strange noises upstairs. Warren goes up to 
investigate, and in an ending that’s sure to 
give you goosebumps, we find out what’s 
ly been going on! 

The next hapless winner of a “novelty 
surprise” is William Seaton. Seaton 
a magnificently carved old door 
n the antique shop. He brings it home to 
use as a decorative door to the stationery 
cupboard in his study. Working in the 
study one day, he opens the door to find a 
mysterious blue drawing room behind it. 
Above the fireplace in the blue room, he 
sees the portrait of a handsome Restora- 
tion gentleman. The next time he returns 
to the mysterious room, he finds a book 
written by a Sir Michael Sinclair sometime 
during the reign of Charles II. It’s called 
“An Experiment In Darkness” and explains 
that the bhje room was prepared for the 
pursuit of evil and must be kept alive by 
human sacrifices. He reads on to hearn 


What would a British horror film be without an 
appearance by Peter Cushing? For one thing, it 
would be a Peter Cushing-less British horror 
film; for another, it wouid more than likely be 
serioudfV Impoverished by his absence. In 
addition to the ubiquitous Mr. Cushing, TALES 
also Includes the likes of Donald Pleasance, 
Margaret Leighton, tan Bannen, Ian Carmichael 
and Diana Dors in its talented cast. 

that the door is seeped in blood, so that it 
can function as a trap. Seaton is absorbed 
in the book and turns around to find that 
the French windows have opened. Stand- 
ing there is- the gentleman of the portrait, 
but he’s decayed and rotten with age! 
What transpires thereafter is truly terrify- 
ing to behold. 

Watching all the customers as they 
went in and out of the antique-shop was a 
petty criminal named Paul Briggs. He 


Donald Pleasance, as Underwood, takes his place on the set of 
TALES FROM BEYOND THE GRAVE in this behind-the-scenes shot of the forthcoming Amicus production 


waits for everyone to leave, and then tries 
to rob and kill the old proprietor. Can yor 
guess what happens to the unlucky Mr 
Briggs? 

NOTES FROM BEYOND THE GRAVE 

I couldn’t resist the temptation to stop 
down at Sheppertdn studios for a behind-- 
the-scenes look at Tales From Beyond The 
Grave. The first thing that struck me was 
the fact that director Kevin Connor looks 
so young. But then, it shouldn’t have come 
. as such a surprise. Amicus has been 
giving breaks to young, directors for a 
number of years now, including Richard 
Lester, Gordon Flemying, and Alan Cooke. 
Connor may look young, but he’s got a 
great deal of experience under his belt. He 
worked as an editor on a number of 
critically acclaimed films, including Young 
Winston and Oh, What a Lovely War. 
Connor was the one who originally bought 
“The Unbidden” to the attention of 
producer Milt Subotsky. Alan Hume, as 
director of photography, worked closely 
with Connor. Hume’s recent films Include 
The Legend Of Hell House (the last film by 
ex-American International chief James 
Nicholson), Zeppelin, and The Last 
Grenade.. 

Once again. Amicus has assembled 
quite a cast. In addition to Peter Cushing, 
the film stars Margaret Leighton, Donald 
Pleasence and his real-life daughter 
Angela (who plays his screen daughter 
Emily Underwood), Ian Bannen, Ian Car- 
michael, Diana Dors, and Nyree Dawn 
Porter. 

STARTLING SETS 

I was surprised to find the Icirge’ number 
of sets constructed for the film— 26 in all. 
They take up most of sound stages “A” 
and “B” on Sheppertofi’s lot. Maurice 
Carter, who designed the sets, is an 
extremeiy capable fellow with a great deal 
of experience. His film credits include 
Becket, Battle Of Britain and Anne Of The 
Thousand Days. The most spectacular of 
his sets is the elegant 17th century blue 
room, used in the story entitled “The 
Door.” It was also the most difficult, 
because in the course of the action the 
entire room must disintegrate. This called 
for the talents of special effects expert 
Alan Bryce. Bryce also had his work cut 
out for him in the segment entitled “The 
Elemental.” It wasn’t easy to make objects 
fly around the room and cause all kinds of 
unexpected upheavals in the sequence 
involving Madame Orloff’s battle with the 
invisible force, but Bryce managed to 
make the scene quite effective. 

Bryce wasn’t the only one who had his 
work cut out for him on this film. Make-up 
man Neville Smallwood had his hands full 
too. It was no easy task to create the 
ghastly and very decayed face of the 
long-dead Sir Michael in the “blue room” 
segment. Smallwood also had to design 
the death-like make-up for the mirror 
scenes in the first episode, “The Gate 
Crasher.”- He had to makg actor Marcel 
Steiner, billed simply as “The Face,” 
gradually become more and more human. 
At the same time, he had to make the 
victim, played by David Warner, appear 
less and less human. You can judge his 
success for yourself when you see the 
film. And If the sequences I saw being 
filmed are any measure of its overall 
quality, this is one picture you won’t want 
to miss! ’ ■ 


The people who brought you TALES FROM THE CRYPT and VAULT OF HORROR 
have been busy applying their terrorific talents to still another multi-story film, 
TALES FROM BEYOND THE GRAVE. Amicus has stocked its latest fright film with 
a host of sinister celebrities, including this time the likes of Peter Cushing, Donald 
Pleasance, Margaret Leighton, ian Bannen and Diana Dors. For further info about 
TALES (and you should hear the shocking things that go on Beyond the Grave!) 
read Geoffrey Oldham’s report below... 


THETMT GRUESOME GOSSIP DEPT. Presents 




The Monster Times 


Robots to the left of us, 
robots to the right! Robots 
before us and robots 
behind! Robots on the 
streets, robots in the sky, 
and even robots ’round our 
shoulders! Monsterdom’s 
mighty metalmen have 
been marching across the 
screen for weil over 70 
years now, and no one’s 
been watching the mechan- 
ical parade more intently 
than our very own scare 
scholar Jason Thomas. 
He’s kept an ever-alert eye 
on alien automatons, 
homegrown robots, and 
oversized mechanical mon- 
sters, all of whom he 
reports on herewith in Part 
the First of his painstak- 
ingiy researched and care- 
fully considered treatise on 
Robots in the Cinema. 


GOG gets a grip on a hapless technician in the 1954 sci-fi film named in the automaton’s honor. As if one unruly 
robot weren’t enough, Gog also had a “brother,” Magog, and the pair took orders from Novae, a computer duped by 
rotten Commie agents into trying to sabotage an American missile base. Needless to say, all were dealt swift justice 
for the parts they played in this unpatriotic plot. 


The utterly ridiculous ROBOT 
MONSTER (1953), a mechanized 
gorilla that came equipped with a 
bubble-blowing helmet with anten- 
naei also conquered Earth. However, 
this 3-D End of the World fantasy 
turned out to be a dream that the 
juvenile hero had conjured up. A great 
deal of stock footage was used in this 
bomb ... but not nearly enough to 
save it from the, oblivion it so richly 
deserved. 

A very stout robot accompanied the 
DEVIL GIRL FROM MARS (1954) on 
her mission of desfruefion. The love- 
starved lady got hung up on an 
escaped convict, though, and this 
caused her downfall. In a valiant 
effort to save Earth, the man blew up 
the alien spaceship and destroyed the 
wicked woman and her metal minion. 

Some episodes from TV’s ROCKY 
JONES, SPACE RANGER were 
spliced together in 1954 to make 
ROBOT OF REGOLIO. This minor 
production had Rocky and His crew 
fighting against the usual alien 
baddies and their metallic afave. 

Humanity was invaded by a flock of 
robots from Venus iri TARGET ’ 
EARTH (1954). They took over an 
entire city that had been evacuated, 
but it turned out that there were still a 
few people left. While the monsters 


pdge 


Among the least formidable-looking of screen robots were the ones who worked 
for Vultura (Gene Roth), evil ruler of the planet Atoma and would-be conqueror of 
the universe, in the 1951 serial version of CAPTAIN VIDEO. In fact, these staid- 
looking robots remind us of nothing more uncanny than a group of mechanized 
insurance salesmen. On second thought, that IS a pretty terrifying concept. 


the villain was shot in the head with 
an arrow from Sabu’s crossbow. 

The bad guys in THE MONSTER 
AND THE APE (1945) used a massive 
gorilla named Thor and a robot called 
a Metalogen Man to do most of their 
dirty work. In the first chapter, the 
metal servant was stolen from its 
inventors and, from then ^n, it was 
used to try to kill the hercres. At the 
shattering conclusion, the car carry- 
ing the robot and its illegitimate 
master went over a cliff and exploded. 

Bela Lugosi’s slapstick MY SON, 
THE VAMPIRE (1952) was alternately 
known in England (where it was 
made) as OLD MOTHER RILEY 
MEETS THE VAMPIRE and VAM- 
PIRES OVER LONDON. Mark I, a 
radar-controlled mechanical man with 
a tickertape machine on his head, was 
built by “The Vampire” (Lugosi), a 
master criminal with questionable 
taste. As it turned out, the robot was 
accidentally delivered to the resi- 
dence of Old Mother Riley, a homely 
transvestite who had a knacK for 
getting into trouble. In the end. 
Mother Riley dismantled the metal 
monster and the police caught 
Lugosi, who turned out to be just a 
normal man (gyp, gyp!) 

Since Abbott and Costello kept 
meeting the big name monsters of 


scientist was determined to possess 
some ancient treasures, so he built a 
robot with a human head (and brain, 
of.course) to combat the ugly-looking 
Mummy who guarded the items. The 
metal man proved to be too weak, 
though, and the Aztec protector 
pulverized it and then slew its chubby 
master (whom, I believe, returned in a 
later sequel). 

THE COLOSSUS OF NEW YORK 

(1958) was a nine-foot-tall monster 
with a human brain and glowing 
disintegrator eyes. Throughout the 
story, the metal freak became more 
and more paranoid, and he finally 
decided that he would have to take 
over the world. Bullet-proof, he 
smashed his way info the United 
Nations Building and went on a 
bloody rampage. When his son 
showed up, though, he came to his 
senses and told the boy to push 
against his chest, which destroyed 
him. 

OUTSIZED AUTOMATONS! 

Nearly half of the movies in this 
section had robots from other planets 
in them. However, since they were all 
gigantic clankers, I figured that they 
belonged under this category. 

Four-armed GOG and his “brother,” 


(Mexican, 1959) brought a large, 
economy-sized robot to Earth. Also in 
the rocket were two delectable female 
Venusians and a gang of moon-mon- 
sters. Originally intending to help the 
Lunatics take over our planet, the 
girls changed their minds and ordered 
the robot to annihilate the leader of 
the creatures at the conclusion of the 
movie. 

A robot “plaything” had a small role 
in VOYAGE TO THE END OF THE 
UNIVERSE (1963). It was created by 
an aging scientist who had" volun- 
teered to go on a mission to another 
solar system. The poor robot met its 
end when it was blasted by a crew 
member who had gone temporarily 
insane. Incidentally, if you happen to 
be wondering why the robot was an 
alien one, the answer is simple; the 
space mission was being conducted 
by human-looking aliens, on their 
way to contemporary Earth! 

Most of humanity got wiped out by 
a robot invasion from another world in 
THE EARTH DIES SCREAMING 
(1964). This movie centered around a 
small group of survivors in England. 
The squeaky conquerors were all 
around, killing people with their mere 
touch and turning them into mindless 
zombies. Finally, the heroes blew up 
the control transmitter and rendered 


page 10 




he revived in the following episode. 

In 1951, a flying saucer settled 
down in a park in Washington, D.C. 
After a while, an alien emerged from 
.the shining metal sphere, only to be 
shot by one of fhe soldiers who had 
taken up defensive positions around 
the .spacecraft. As a result, an 
eight-foot-tall robot disboarded the 
saucer and disintegrated every 
weapon in sight. Although Gort, as 
the robot was called, played a minor 
role in THE DAY THE EARTH STOOD 
STILL, he is still one of the most 
memorable of all movie clankers. He 
was beautiful, gleaming in the 
sunlight, towering over the frightened 
humans around him. And his 
Cyclopean eye (which probably led to 
the creation of Marvel Comics’ 
X-Man, Cyclops) was awesome and 
deadly. Yet. with all his great power 
(he was indestructible, too), he did 
not kill many people. When the film 
ended, he and his alien masfer 
(Michael Rennie) left Earth in 
peace— a true peaqe, which mankind 
had never known before ... not even in 
the movies. 


CAPTAIN VIDEO, who was a big TV 
favorite at the time, had to contend 
with an invasion of mefal monsfers. 
One of the foolish-looking fiends 
managed to wound the Video Ranger 
in one of the 15 chapters of fhis 1951 
movie serial, but Cap and his men 
eventually eliminated the robot threat 
with their handy-dandy ray pistols. 

Believe it or not, Leonard Nimoy 
played a pointy-eared Martian in a 
1952 serial called ZOMBIES OF THE 
STRATOSPHERE. In chapter 5, the 
three invaders used a cool-looking 
mechanical man against the hero (one 
of Republic’s three self-propelled 
Rocket Men). The hero played havoc 
with his adversary’s control box in the 
next episode, and in the final reel he 
used the robot to kill the Martians’ 
two human henchmen. In 1953, 
Republic came, back with COMMAN- 
DO CODY, a 12-chaptqr serial, for TV. 
In one episode, the evil. Ruler, an 
intergalactic villain, sent his killer 
robot against the good guys. Cody 
managed to use the automaton 
against his surprised enemies,' 
though, and Earth was saved (again). 


hunted down the fugitives, the good 
old U.S. Army was searching for a 
way to destroy the aggressive 
invaders. They finally decided to use 
high-frequency sound waves, which 
gave the intergalactic trouble-makers 
terrific headaches and fhen cracked 
their feeble elecfronic brains. 

FORBIDDEN PLANET, one of the 
finest science-fiction movies of all 
time, was made in 1956. Soon after a 
United Planets space cruiser landed 
on Altair 4, Robby the Robot came 
along in a kind of advanced dune 
buggy. He was a good robot, created 
by a scientist from Earth (Walter 
Pidgeon) who had utilized the scien- 
tific knowledge of a long-dead alien 
race, thp Krell. He could not harm any 
living being, which proved to be an 
advantage when he was ordered to 
shoot the hero (Leslie Nielsen), and a 
big disadvantage when he was 
commanded to destroy the invisible 
monster from the scientist’s Id. 
Robby proved to* be so likeable that 
the spacemen decided to take him to 
Earth just before Altair 4 exploded. 

THE SHIP OF THE MONSTERS 


In KING KONG ESCAPES, Kong battled a mechanical counterpart, Mechni- 
Kong, for domination of a miniature Toho set. At the conclusion of the frantic 


w» back in 1920, Karel Capek, a 
Czechoslovakian playwright, thought 
up the word “robot.” This odd-sound- 
ing noun was introduced in Capek’s 
play, “R.U.R.” (“Possum’s Universal 
Robots”), and it was used to describe 
forced, automatic labor. Since then, 
the term has come to mean 
something else. Funk and Wagnalls 
defines it as being: 1. A mechanical 
man constructed to perform work in 
the place of human beings'; 2. One 
who works mechanically; automa- 
fon ; 3. Any mechanism or device that 
.operates automatically or is remotely 
controlled. Loosely, the word could 
be applied to such man-made 
creatures as the Frankenstein Mon- 
ster ancLthe Golem. However, I prefer 
to think of robots as being only the 
metallic sort. You know, the kind that 
have to be oiled, and who heat up and 
blow fuses if you kiss them. Like that. 

Motion pictures seem to agree with 
my preference. Through the years, 
many metal robots have appeared on 
the screen. Some were humanoid, 
while others looked as though they 
had escaped from a mad scientist’s 
iaboratory (w+iich was usually the 
case). Actually, robots were intro- 
duced to the cinema in 1897, but the 
emphasis of this two-part article will 
be on metal monsters that have 
appeared since 1920. (Don't tell 
anybody, but the reason for this is 
because very little is known about the 
silent pictures that featured robot?;) 

In the beginning, there was fantasy 
film pioneer Georges Melies’ comical 
THE CLOWN AND THE AUTOMATON 
(1897). This was followed by Edmond 
Audrian’s operatic LA POUPEE 
(1899), adapted from E.T.A. Hoff- 
mann’s humorous horror tale, “The 
Sandman.” In 1900, the first version 
of COPPELIA was released in France; 
this, too, had been taken from a tale 
by Hoffmann. THE MOTOR VALET 
followed in 1906; the mischievous 
robot in this movie went around 
smashing furniture before it blew a 
fuse and exploded. THE ELECTRIC 


SERVANT came along in 1909, and 
the robot in this also went bananas 
and blew up after causing a great deal 
of damage. In 1910,_a girl fell in love 
with a robot and married it ; the result 
was a MECHANICAL HUSBAND. A 
female counterpart showed up the 
same year in THE MECHANICAL 
MARY ANNE. HOW THEY WORK IN 
THE CINEMA (1911) put forth the 
premise that some “eternally youth- 
ful" actors in Hollywood are actually 
robots (or androids, which are often 
referred to as being ro'bots resembling 
humans). This idea was used by 
Robert Bioch years later in TORTURE 
GARDEN (wait a while, and I’ll get 
around to that one). THE ELECTRIC 
DOLL was created in 1914, and the 
ever-popular Hoffmann received more 
theatrical recognition that same year 
in THE TALES OF HOFFMANN. THE 
MECHANICAL MAN appeared during 
the following year, while Germany’s 
DIE PUPPE (1919) also dealt with one 
of Hoffmann’s tales, as did LA 
POUPEE (1920). 

The rest of this treatise wiii be 
broken up into the following 
sections: ALIEN ROBOTS, VILLAIN- 
OUS EARTH ROBOTS, GIANTS, 
HUMANOIDS, DUPLICATES, GOOD 
GUY ROBOTS, and PHONIES. While 
some films belong in more than one 
category. I've put each title under the 
heading that I feel besj fits the nature 
of the robot that appeared in it. Not 
being an automaton myself. I’m prone 
to seeing things from a subjective 
point of view. 


ALIEN AUTOMATONS 
FROM OUTER SPACE! 


Only once did Flash Gordon ever 
fight against robots, and that was in 
his third and last serial, FLASH - 
GORDON CONQUERS THE UNI- 
VERSE (1940). In chapter 3, Emperor 
“Beware the Yellow Peril” Ming sent 
walking robot bombs to destroy the 
intrepid Earthman and his compan- 
ions. Although one of the explosions 
knocked Flash out at the cliffhanger. 


Perennial ’50s fright fiim hero Richard Denning attempts to whisk 
fainting lady away from the metal clutches of an evil Venusian 
automaton in TARGET EARTH. Though it featured some of the 
scream screen’s more unusual automatons, the film had 
little else to recommend it. 


or QUICK, BEFORE IT RUSTS! 


1 



the invaders inoperative.' 

SANTA CLAUS CONQUERS THE 
MARTIANS, one of the very worst 
movies ever, was cranked out in 
1964. Since the green (that's right!) 
Martian youngsters were feeling 
pretty low, their ruier decided to 
kidnap Santa and bring him to the 
Angry Red Pianet. After capturing a 
pair of Earth kiddies, the Martians 
headed for the North Pole to carry out 
theirasinine mission. They unleashed 
a large, cute-looking robot to capture 
Santa, but the “power of his 
goodness” stopped it dead in its 
tracks. 


ample 
jp of 


a group Of scientists and transported 
them to a distant space station in 
THE TERRORNAUTS (1967). There, 
the humans manned powerful weap- 
ons and repelled an invading force 
from another planet. As the last 
enemy spaceship was destroyed, the 
robot returned the people to Earth. 

A year later, a fantastic science- 
fiction semi-sexploitation film en- 
titled BARBARELLA was released. 
This terrific space opera contained 
spaceships, rayguns, monsters, ali- 


PARTI BY JASON THOMAS 


Mad genius Eduardo Ciannelli delivers 
heroine Ella Neal into the waiting arms 
of one of his shoddy, makeshift 
mechanical men in a scene from the 
1940 serial, THE MYSTERIOUS DR. 
SATAN. 


Director Fritz Lang and a crew of 
tireless - special effects experts 
fashioned this robotrix, who played an 
important part in the classic German 
silent, METROPOLIS, back in 1926. To 
this day, she remains one of the 
screen’s most impressive automatons. 

• 

angel, and a whole bunch of other 
goodies. There were also robotic 
“leather men,” which were controlled 
by the evil Black Queen. Last but not 
least, there were small android dolls 
ttiat delighted in using their sharp 
little teeth to rend human flesh. 

The famous Perry Rhodan was 
brought to the theater screens in the 
West German MISSION STARDUST 
(1968). As in the first novel. Perry and 
his men headed toward the moon. 
However, their rocket was intercepted 
by a group of near-human robots and 
brought to a huge starship. The whole 
gang returned to Earth, buj some evil 
adventurers found out and attacked 
them. The robots, armed with' 
disintegrators, proved to be quite a 
problem, too, but everything worked 
out in the end and the aliens left in 
friendship. 

Everybody knows about the inter- 
galactic adventures of Flash Gordon, 
but not many people are familiar with 
FLESH GORDON (1972). This porno 
version of the Universal serials 
contained many censorable oddities, 
as well as a trio of odd-looking robots 
that Gordon managed to stop with a 
sardine can key, or some such thing. 

EARTH’S EVIL ROBOTS! 

The films in this section deal with 
robots that were built on Earth by 
humans and controlled by human bad 
guys. Of course, the robots them- 


selves were not truly evil, since they 
usually had no sense of right and 
wrong. However, since they were 
manipulated by dastardly persons, 
the mechanical men, (and women) 
were regarded as being evil, too. Does 
that make sense? Good. 

Germany came but with THE 
MIRACLE OF TOMORROW in 1923. 
The electrically-controlled robot in 
this one was a curious-looking, 
man-like contrivance, built by a 
manufacturer of scientific apparatus. 

A thief swiped the thing, and made it 
kidnap the heroine. Ultimately, the 
robot went all to pieces after falling 
from a balcony, and the criminal was 
burned to death. 

In THE PHANTOM EMPIRE (1935), 
Gene Autry found Murania, a lost 
subterranean city, where he discov- 
ered . among the many other advanced 
devices (including a life-restoring 
machine and a disintegrator cannon), 
a group of clumsy-looking mechani- 
cal men. These ridiculous robots 
threatened the lives of the heroes 
several times, but in the last chapter 
Murania was destroyed by the disin- 
tegrator. 

A year later, Ray “Crash” Corrigan 
and his none-too-alert friends took a 
submarine ride to THE UNDERSEA 
KINGDOM (to see Lon Chaney, 
perhaps?). 'There were two warring 
cities on the sunken continent of 
Atlantis. The evil Black Robes were 
the strongest and most advanced of 
the two factions, and their super- 
arsenal was complemented by ray- 
gun-carrying Volkites (robots). By the 
end of the chapter-play, both cities 
were demolished, along with ail of 
their inhabitants ... whPeh is one 
time-tested way of solving complex 
conflicts. 

THE PHANTOM CREEPS (1939) 
sported fhe ugliest-looking robot in 
movie history (with tangs, yet!). Built 
by mad scientist Zorka (Bela Lugosi), 
it stood a full eight feet tall. As can be 
expected. Zorka created other scien- 
tific marvels as well, including a 
Devisuaiizer (invisibility) Belt. In 
chapter 12, the robot was blown up 
shortly before its master's plane .was 
shot down by Army fighters. 

A costumed hero called “The 
Copperhead" fought against THE 
MYSTERIOUS DR. SATAN (1940) and 
his murderous robot. The insidious 
Satan (Eduardo Cianelli) set many 
traps for his masked opponent, but 
the resourceful Copperhead always 
managed to escape. In chapter 1 5, the 
slow-moving robot\mistakenly kilied 
its creator and then went all to pieces 
after failing from a building. 

The second version of THE THIEF 
OF BAGDAD came out in 1940. The 
unscrupulous magician in this spec- 
tacular film had two robots working 
for him: one was a six-armed female 
automaton, and the other was a flying 
horse (magic, you know). The first 
creation knifed the heroine's father, 
and the second one fell apart when 


Robby the Robot, 
the super scien- 
tific creation of 
Dr. Moibius of 
FORBIDDEN 
PLANET fame 
went on to great- 
stf?) adventures 
in THE INVISIBLE 
BOY and TV’s 
LOST IN SPACE. 

Last we heard 
from him, he was 
working as a 
garage mechanic 
somewhere in 
New Jersey. 


their day, it was inevitable that, in 
1955, THE BOWERY BOYS MEET 
THE MONSTERS (they aiso met a 
demon and a genie, but those are 
other stories). This “epic” contained 
two mad scientists, a vampire, an 
oversized gorilla, a giant carnivorous 
plant, and, of course, a robot. The 
danker, whose square head kept 
falling off, helped the good guys and 
became a member of their baseball 
team at the end of the film. 

In 1957, Mexico continued its 
Mummy series with THE ROBOT VS. 
THE AZTEC MUMMY. An evil 


Magog, came along in 1954. Both 
rolling robots (they moved on 
mechanized treads) were controlled 
by Novae, a vast computer located in 
an underground laboratory. When 
enemy agents found a way to take 
over Novae, it started killing off the 
good guys via highly scientific 
means. Finally, one of the mobile 
twins was put out of action by a flame 
thrower. The other was rendered 
harmless when American sabre jets 
blasted the enemy agents. 

Robby the Robot returned in THE 
INVISIBLE BOY (1957). The villain of 



page 12 




The Monster Times 

■ ■ 



THE COLOSSUS OF NEW YORK (Ed Woltf), an outsized automaton given to fits 
of paranoia, severe delusions of grandeur and abrupt & senseless outbursts of 
antisocial behavior, instructs young Charles Herbert to destroy him in a moving 
scene from that oft-ignored 1958 fright film. Mechanical mdven Jason Thomas 
will have more automatons in store in the next issue of this very pubiication, so 


this flick was an enormous independ- 
ent computer that wanted to take over 
the world. Gaining control of Robby, 
the power-mad machine ordered him 
to implaht electronic control devices 
into top scientific ^nd military 
officials. When the boy hero (who 
became invisible earlier, natch) found 
this out, he activated Robby's 
"conscience mechanism" and broke 
the super-braih's control over the 
lovable robot. To' atone tor his 
actions, Robby did in the corrupt 
corhputer. 

KRONOS (1957) was the biggest 
and baddest robot ever to appear in 
motion pictures! He was vicious and 
unstoppable (until the end of the film, 
anyway)— not only did he suck up all 
the energy he could, but even before 
he landed on Earth he took control of 
two men. As Kronos travelled through 
the countryside, he crushed every- 
body and everything that got in his 
way. In the last reel, the heroic 
scientists dropped tinfoil or some- 
thing on him and turned his awesome 
power back at him. 

Japan got into the act in 1957 with 
THE MYSTERIANS. These horny 
extraterrestrials (all male) came to 


human females. Along with all the 
other impressive super-scientific 
weaponry that they brought with them 
was a giant robot that looked like a fat 
insect. The gargantuan, from whose 
eyes spewed forth colorful beams of 
destruction, was eventually tricked 
into walking across a booby-trapped 
bridge. When the dynamite charges 
were set off, it fell into the drink and 
short-circuited! This, by the way, was 
one of Japan's best sci-fi efforts. 

HAVE ROCKET, WILL TRAVEL 
(1959) had a giant, self-thinking 
computer that created robot dupli- 
cates of the Three Stooges. After 
escaping from the mechanical 
clutches of the master machine, and 
the fiery breath of a giant tarantula, 
the real Stooges blasted oft and 
returned to Earth. A while later, the 
robot duplicates were sent to get even 
with the violent trio, and that’s how 
the uninspired flick ended. 

JASON AND THE ARGONAUTS 
(1963) found the treasure cache of the 
gods on an uninhabited islahd. 
Unfortunately, an enormous bronze 
statue resembling Talos, a titan, 
stood watch over the golden goodies. 
As soon as something was removed 


keep yourantennae tuned. 


animated (thanks to Ray Harry- 
hausen's magnificent skills; of 
course) and creaked loudly as it went 
around squashing the mortals and 
threatening their ship. Finally, Jason 
pulled a plug out of the gargantuan's 
heel, releasing a substance that had 
held the big bully together. (And all 
the king's horses, and all the king's 
men, couldn't put Talos together 
again.) 

France’s ALPHAVILLE (1965) was 
about a completely technical society 
on another planet that greatly 
resembled present day Paris. It was 
controlled by a gigantic computer 
system, which, among other things, 
outlawed emotions. When an agent 
from Earth entered the oppressed 
city, he wasted little time in finding 
and destroying the computer. The 
question is, did he actually help the 
people by doing this? 

KING KONG ESCAPES (1967), the 
sequel to KING KONG VS. GODZILLA 
(1962), was? a real loser! The evil 
scientist in this one built a huge 
mechanical version of the giant ape, 
and, of'course, the two heavyweights 
ended up fighting each other. Predict- 
ably, the real Kong won. At the end of 
the flick, Mechni-Kong fell off the 
largest radio tower in Japan and, just 
like Humpty Dumpty, he couldn’t be 
put back together again. 

2001: A SPACE ODYSSEY (1968) 
was quite a controversial film, but 
perhaps the most striking of all its 
concepts was that of HAL 9000, an 
immense super-computer that was 
part of the Jupiter-bound space 
vehicle. Unlike the humans on board 
the ship, HAL had emotions. When 
HAL felt threatened by the Earthlings, 
he fought back. After killing all but 
one of the foes, HAL was destroyed 
when his memory banks were 
tampered with by the survivor. 

The most recent of the giant 
machines was COLOSSUS: THE 
FORBIN PROJECT (1970). Like some 
of the devices already mentioned, this 
one was able to reason by itself. It 
and its Russian counterpart. Guard- 
ian, linked up and decided to take 
over the world, and did so by threat- 
ening to use the atomic missiles of 
America and the U.S.S.R. At the end 
of the film, all humanity was 
governed by the two machines, and 
everyone was strangely upset over the 
fact that Mankind had lost the right to 
destroy itself. 

Since you’ve just muddled through 
over 40 robot films, we figured that 
we'd give you a rest until next month 
when we'll be bringing you Part II of 
Jason Thomas’ ROBOTS IN THE 
CINEMA. At that time, he’ll cover the 
pressing topics of HUMANOIDS, 
DUPLICATES, GOOD GUY ROBOTS 
and PHONIES. Incidentally, if any of 
you readers know about titles that 
Jason missed, wrtie in and let us 
know. We’d appreciate plot summa- 
ries, if possible. 

Until we meet again, may R, the 
Robot God, watch over you. □ 


The following filmography features 
dates, running times, directors and 
stars of films discussed in the above 
article— the kind of invaluable info 
Fantasy Film pedants like, dip and 
save. 

' Robot Filmography 

ALIEN AUTOMATONS 
BARB'ARELLA (1968) 98 min. Roger 
Vadim. With Jane Fonda, John Phillip- 
Law, David Hammings, Milo O'Shea. 
CAPTAIN VIDEO (1951) 15 chapters. 
Spencer G. Bennett, Wallace A, 
Grissell. With Judd Holdren, Larry 
Stewart, George Eldredge, Gene 
Roth. 

COMMANDO CODY (1953) 12 chap- 
ters. With Judd Holdren, Aline 
Towne, William Schallert. 

DAY THE EARTH STOOD STILL 
(1951) 92 min. Robert Wise. With 
Michael Rennie, Patricia Neal, Hugh 
Marlowe, Sam-Jaffe. 

DEVIL GIRL FROM MARS (1954) 76 
min. David MacDonald. With Patricia 
Laffan, Hugh McDermott. Adreinne 
Corri. 

EARTH DIES SCREAMING (1964) 62 
min. Terence Fisher. With Willard 
Parker, Virginia Field, Dennis Price. 
FLASH GORDON CONQUERS THE 
UNIVERSE (1940) 12 episodes. Ray 
Taylor, Ford Beebe. With Buster 
Crabbe, Carol Hughes, Frank 
Mtddleton. 

FORBIDDEN PLANET (1956) 98 min. 
Fred M. Wilcox. With Waller Pidgeon, 
Anne Francis^ Leslie Neilsen, Warren 
Stevens. 

MISSION STARDUST (1968) 95 min. 
Primo Zeglio. With Lang Jeffries. 
Essy Persson, Gianni Rizzo. 

ROBOT MONSTER (1953)63 min. Phil 
Tucker. With George Nader, Claudia 
Barrett, Selena Royle. 

ROBOT OF REGOLIO (1954) 78 min. 
With Richard Crane, James Lydon. 
SANTA CLAUS CONQUERS THE 


MARTIANS 0964) 80 min. Nicholas 
Webster. With John Call, Leonard 
Hicks. 

SHIP OF THE MONSTERS (1959) 
Rogelio Gonzalez. With Lalo Gon- 
zalez, Ana Berthe Lepe. 

TARGET EARTH (1954) 75 rpin. 
Shermah A. Rose. With Richard 
Denning, Virginia Grey, Kathleen 
Crowley, Arthur Space. 

THE TERRORNAUTS (1967) 75 min. 
Montgomery Tully. With Max Adrian, 
Simon Cates, Charles Hawtrey. 
VOYAGE TO THE END OF THE 
UNIVERSE (1963) 81 min. Jindrich 
Polak. With Zdenek Stepanek, Rado- 
van Lukavsky, Dana Medricka. 
ZOMBIES OF THE STRATOSPHERE 
(1952)12 episodes. Fred C. Brannon. 
With Judd Holdren, Aline Towne. 
Leonard Nimoy. 

EVIL EARTH ROBOTS 
BOWERY BOYS MEET THE MON- 
STERS (1 955) 66 min. Edward Bernds. 
With Leo Gorcey, Huntz Hall, Ellen 
Corby, John Dehner. 

COLOSSUS OF NEW YORK (1958) 70 
min. Eugene Lourie. With Ross 
Martin, Mala Powers, Otto Kruger. 
MIRACLE OF TOMORROW (1953) 
Harry Piel. 

MONSTER AND THE APE (1945) 15 
chapters. Howard Bretherton. With 
Robert Lowery, Geroge Macready, 
Ralph Morgan. Carole Matthews. 

MY SON, THE VAMPIRE (1952) 74 
min. John Gilling. With Bela Lugosi, 
Arthur Lucan. Hattie Jacques. 
MYSTERIOUS DR. SATAN (1940) 15 
chapters. William Withey, John 
English. With Eduardo Ciannelli, 
Robert' Wilcox, C. Montague Shaw. 
PHANTOM CREEPS (1939) 12 epi- 
sodes. Saul Goodkind, Ford Beebe. 
With Bela Lugosi, Robert Kent, Regis 
Toomey. 

PHANTOM EMPIRE (1935) 12 chap- 
ters. B. Reeves Eason, Otto Brower. 
With Gene Autry, Frankie Darro, 


Smiley Burnette. 

ROBOT VS. THE AZTEC MUMMY 

(1957) Rafael Portillo. With Ramon 
Gay, Rosita Arena, Crox Alvarado. 
THIEF OF BAGDAD (1940) 106 min. 
Michael Powell, Ludwig Berger, Tim 
Whelan. With Sabu, Conrad Veidt, 
June Duprez, Mary Morris. 
UNDERSEA KINGDOM (1936) 12 

episodes. B. Reeves Eason, Joseph 
Kane. With Crash Corrigan. Monte 
Blue, Lois Wilde, Lon Chaney Jr., 
Smiley Burnette. 

OUTSIZED AUTOMATONS 

ALPHAVILLE (1965) 98 min. Jean-Luc 
Godard. With Eddie Constantine, 
Anna Karina, Howard Vernon, Akim 
Tamiroff. , 

COLOSSUS: THE FORBIN PROJECT 

(1970) 100 min, Joseph Sargent. With 
Eric Braeden, Susan Clark, Gordon 
Pinsent, William Schallert. 

GOG (1954) 85 min. Herbert L. Strock. 
With Richard Egan, Herbert Marshall-, 
Constance Dowling. 

HAVE ROCKET, WILL TRAVEL (1959) 
76 min. David L. Rich. With the Three 
Stooges, Jerome Cowan. 

INVISIBLE BOY (1957) 85 min. 

Herman Hoffman. With Richard Eyer, 
Diane Brewster, Philip Abbot. 
JASON AND THE ARGONAUTS 
(1963) 90 min. Don Chaffey. With 
Todd Armstrong. Nancy Kovack. Gary 
Raymond. 

KING KONG ESCAPES (1967) 96 min. 
Inoshiro Honda. With Akira Takarada, 
Mie Hama, Rhodes Reason. 
KRONOS (1957) 78 min! Kurt 
Neumann. With Jeff Morrow, Barbara 
Lawrence, John Emery. 

THE MYSTERIANS (1957) 89 min. 
Inoshiro Honda. With Kenji Sahara, 
Yumi Shirakawa. 

2001: A SPACE ODDYSSEY (1968) 
160 min. Stanley Kubrick. With Keir 
Duliea. Gary Lockwood, Williatri 
Sylvester. 



Everything you 
always wanted 

to know about 
comics. 
And more. 


Response to the first two issues of INSIDE COMICS has been fast and furious. And 
the magazine’s about the biggest success story since ... well, since THE MONSTER 
TIMES. 


But we’re not through convincing peopie yet. Our third issue, which is ready now, 
is chock fuil of more of the fascinating and informative, and entertaining material that 
you’ve come to expect from INSIDE COMICS. Here are Just a few of the stories you’ll 
find in the third issue : 


“THE DIRTY DOZEN,” an exclusive gripe session with twelve of the top writers and 
artists in the comic industry. Working for the comics can often be sheer horror as 
people like Neal Adams, Roy Thomas, Jim Sterenko, and others explain. 

“AMERICAN DREAMING.” Comic connoisseur, Maurice Horn, takes you on a 
Journey through the fantastic annals of the American adventure strip. Soar into space 
with Flash Gordon and Buck Rogers. Come to grips with the blood and guts world of 
Dick Tracy. Zip off to Africa with Tim Tyler or around to China with Terry and the 
Pirates. 

“THE DOONESBURY SCANDAL” uncovers the vicious attempi by the nations 
leading newspapers to murder the syndicated strip DOONESBURY. Does fraedom-of- 
the-press really still exist? 

“THE COMICS CODE: 20 YEARS OF SELF-STRANGULATION?” is perhaps the 
finest indepth examination of the Comics Code ever attempted. Leonard Darvin, 
president of the Code, Roy Thomas, Carmine Infantino, and Jim Warren candidly 
debate the antiquated moral values held by the Comics Code. 



Plus there’s lots more! You get our usual news report about the world of comics, 
GEORGE continues to review the latest fanzines and fan products, our VIEWPOINTS 
feature brings you “WHITE MAKES RIGHT,” a look at Marvel’s yellow Journalism in 
their Kung-Fu comics, as well as C.C. Beck’s thoughts on “HOW TO RATE COMIC 
BOOKS,” and a wealth of available comics and such in our classified dep’t! 

The cost of the third issue is $1.00 plus 254 postage and handling. You can also 
subscribe if you don’t want to miss a single issue for only $4.00 a year (4 issues). 

A limited supply of back issues of INSIDE COMICS #1 & #2 are still available a) 
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INSIDE COMICS , )A Division of The Monster Times 
11 West 17th Street New York. New York 10011 


Please send me a four issue 
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Also, as a subscriber. I am 
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page 13 


THE DEVIL MADE 
THEM DO IT 


"THE OLD ONE -TWO" 


SUMMER 

WEAR 

You've seen the movie, you’ve lived in 
the city ... now it’s time to wear the tee 
shirt— and a .handsome King Kong/ 
New York handy souvenir tee shirt it 
is. A Cleveland-based company called 
Darco East placed this ad in a recent 
edition of THE NEW YORK TIMES. 
The shirts cost $4 each and look like 
just the thing for sporty simian 
summerwear. 


This ad for APS (Arizona Public 
Service Co.) appeared in the ARIZONA 
REPUBLIC/PHOENIX GAZETTE and 
features costumed heroes Heat Pump 
and Insulation giving heck to an evil 


Mr. Energy Challenge. Mr. Oil 
Company couldn’t make It for the 
group portrait, however, as he was 
busy dragging bags full of windfall 
profits to the bank at the time. 


In keeping with the current revival 
of things macabre, all the eerie 
ephemera that’s been appearing 
lately in places where madmen 
normally fear to tread will be duly 
reported in this irregular column, 
THE MONSTER SCENE ... 
brought to you by your friendly 
fiends-in-the-field af TMT. (... 
listen for the sound of applause.) 


NEW TIMES 


ME GOING TO RIP 


ym HEAD OFF/ 


According to the results of a recent 
Harris Poll published in the April 29th 
edition of the NEW YORK POST, more 
Americans (53%) believe in the 
existence of the devil than in the 
. credibility of President Nixon. Al- 
though more than half of the people 
polled believe in the devil’s existence, 
just 36% think that he has the power to 
possess human beings, and only 25% 
express a belief in the power of 
exorcism. An overwhelming 84% 
opined that the psychic state 
identified ad “demonic possession” 
couldn’t be fully explained by modern 
medicine. The poll also found that 
more women, blacks, smalltown 
residents, poor and young folks 
in the devil than their male, 
hite, urban, affluent and old 
counterparts — and that a slight 
majority of Catholics voice a faith in 
the healing powers of exorcism. 
Meanwhile, the possibility that the 
American citizenry will demand 
exorcism rather than impeachment as 
a curative measure for the nation’s ills 
grows stronger by the day. 


ANTENNAED APE 


This ad for Ken Shapiro’s satiric 
film THE GROOVE TUBE appearing in 
THE NEW YORK TIMES shows an ape 
with a television set in place of a 


head. If you fail to find this an item of 
endless fascination, we suggest that 
you simply move on to the next one. 


SURTER 

RANEAN 

SAVAGE 


This graphic sliced-brain illustration 
adorned the -cover of the May 1974 
issue of Psychology Today, a 
magazine famed for its brilliant 
visuals, and refers to a pair of 
articles— Stephen L. Chorover’s “Big 
Brother and Psychotechnology II r 
The Pacification of the Brain” and 
Carole Offir’s “Psychosurgery and the 
Law_t The Movement to Pull Out 
Electrodes"— warning of the consid- 


erable dangers of psychosurgery. 
Psychosurgery, especially lobotomy, 
has a long, disturbing history of 
indiscrimihate and morally criminal 
use in this country, and PSYCHOL- 
OGY TODAY details some grim 
examples of this sort of brain abuse. 
Not exactly what you’d call your light 
summer reading, but interesting— 
and frightening— nonetheless. 


AUTHOR HONORED 


TMT reader Jim Kennedy brought the 
aljove Conan-type character to our 
attention. This rather crudely rendered 
barbarian threatens readers of THE 
NEW TIMES, Arizona's underground 
paper, with dire consequences should 
they fail to take out a classified ad in 
that publication. While it’s okay in Its 
place (Arizona), it still doesn’t come 
up to the subscription ad on the back 
of the old EAST VILLAGE OTHER, 
New York’s now defunct underground, 
which featured a still from FREAKS 
and had a pinhead saying to a clown, 
“Lemme hold you wallet a minute, 
man, my EVO sub just ran ou.t.” That 
doesn’t grab you either? Well, it’s just 
another one of those cases where you 
had to be there, we guess. 


CREATURE 

The bubble gum card craze has 
proven to be nothing if not a durable 
one, and the most popular card series 
around today seems to be Topps’ 
Wacjry Packs series. While not the 
most subtle satire we’ve ever laid 
eyes, paws or claws on, this Wacky 
Pack "Creature Crackers” card ap- 
pealed to our craven hearts: Produc- 
ing a “Snack That Attacks” strikes us 
as being a wholesome and long 


SPARE 


DRAINS? 


According to an item in a recent 
edition of the PYTHIAN KNIGHT, 
newspaper of the Knights of Pythias, 
sci-fi writer Robert Heiniein was the 
guest of honor at this year's 
Associated Health Foundation chari- 


table awards dinner on June 1st at the 
Waldorf-Astoria. Heiniein, author of 
the popular sci-fi novel STRANGER IN 
A STRANGE LAND, summed up his 
personal philosophy in the PYTHIAN 
KNIGHT piece by saying: “A man 
without (earning is crippied; nothing 
in this life is free; the universe does 
not forgive stupidity; honesty, 
courage, and loyalty and duty are not 
only their regard but the only reward a 
self-respecting person needs.” Which 
is certainiy quite a mouthful, if 
nothing else. In response to Heinlein’s 
homilies, the PYTHIAN KNIGHT 
comments that the sci-fi writer’s 
words constitute “almost a true 
Pythian philosophy.” Persohally, we 
think that the universe would be better’ 
off if it didn’t take such a hard line and 
could see its way to forgive a little 
stupidity now and then. I mean, it’s 
easy enough for the universe to be 
perfect, but it’s a little tougher for us, 
no? □ 


CRACKERS 


overdue idea. It would certainly add to 
the excitement of eating if one had to 
battle food products in a struggle to 
see who would consume whom. Soon 
we'd be seeing headlmes like LAMB 
CHOP DEVOURS FAMILY OF FOUR 
which, if nothing else, would at least 
provice some welcome relief from the 
kinds of headlines we’ve been seeing 
lately. 

















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DARK SHADOWS DI- 
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in pri 
KUNi 


UNG FU 41 , THE WAY OF THE TIGER 
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PATCHES! 


NOSTALGIA BOOKS 


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OF THE HORROR FILM 

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but the funeral was real 
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blackwood k^asdO^tops 
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hor- 

writlen 


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complete 
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TERRORS OF THE 
SCREEN ... 122 p^e 
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the book is a classic in its 
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HORROR & FANTASY IN 
THE MOVIES ... In a 
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NEW! 


creator of King Kong. 
Sharp text and informa- 
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xhcHand 
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THE MONSTER TIMES BOOKSHELF, P.O. Box 595, Old Chelsea Station, New York, New York 10011 

THE MONSTER TIMES BOOKSHELF, Box 595, Old Chelsea Station, New York, N.Y. 10011. Check the items you wish to 
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Please state age when ordering those books. THANK YOU. 


NAME. 


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TOTAL PRICE OF BOOKS $ - 
N.Y.S. RES. ADO 8% $- 


POSTAGE COSTS 


TOTAL ENCLOSED 


[ ] FRANKENSTEIN [75c & 35c) 

1 ]KARLOFF.THEMAN[$1.50&35c] 

* [ I BORIS KARLOFF DIGEST r75c&35cl 

[ I TALES OF THE MYSTERIOUS [S 3 . 00 & 60 CI 
[ IF'OCUS ON HITCHCOCK {$2.50 &60ci 
[ lPOLTERQEISTS($2.00&35c] 

’ I ]MAGICIANSANOWIZAROS($2.00&35c] 

[ ]WEREWOLVES[$2.00&26c] 

[ ]MUMMIESlS2.00&35c] 

I I STRANGE ENCOUNTERS WITH GHOSTS I75c & 35ci 

* I ]VAMPIRESANDWEREWOLVES(75c&35c] 

( ] VAMPIRES ($2.00 & 35c] 

[ }DARKSHADOWS0IGEST[75c&35c] 

I |DRUMSOFDRACULA|S1.00&35c) 

. [ ] DRACULA [75c & 35c] 

[ |TRUEVAMPIRESr$1.00&35c] 

{ }ADREAMOFDRACULA($1.25&35cl 
( ]lNSEARCHOFDRACULA($1.50&35c] 

[ ]THEDRACULAARCHIVES[$1.00&35cj 
[ )DRACULARETURNS[$1.00&3Scj 
[ IORACULA’S8ROTHERS[$1.00&35c} 

. ( ]DRACULA'SGOLD[$1.00&35cj 
I )THE HANDOF DRACULA ($1. 006 35c] 

( IPICTORI AL HISTORY OF HORROR MOVIES ($5.00 & 60c] 
I |MONSTERSTAMPS[S1.00) 


] HORROR IN THE CINEMA [$1. 25 & 35c] 

] FOCUS ON THE HORROR FILM ($2.50 & 60c] 

1 FOCUS ON FILM [$2.75 & 35c] 
j MOVIE MONSTERS[S2.50 & 60c} 

]THE HOUSE OF HORROR [$6.00 & 60c] 

) MONSTERS FROM THE MOVIES{$2.00 & 35c] 

I TERRORS OF THE SCREEN [$5.00 & 60c] 

1 ILLUSTRATED HISTORY OF HORROR ($3.00 & 35cl 
) PICTORIAL HISTORY OF THE WESTERN ($5.00 & 50ci 
] CHAPLIN ($2.00) 

I THE CITIZEN KANE BOOK [$3.00 & 60c] 

] 20th CENTURY FOX CATALOGUE [$5.00 & bOc] 

1 INFORMAL HISTORY OF THE PULPS [SI .25 & 36cl 
j SPACE JOKES ($1 .00 & 35c] 

]KUNGFU«1[S1.25&35c] [ ]KUNGFU#3[S1.2S&25c] 
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Dracula Patch [S1 .00 & 25c] 

Wolfman Patch ($1.(X) & 25cJ 
King Kong Patch ($1 .00 & 25c] 

Frankenstein Patch ($1 .00 & 25c] 

KARLOFF AND COMPANY [$1.75 & 50cl 
GREAT MONSTERS [75c & 3Scl 
MONSTERS f$4.95 & 50c] 

HORROR & FANTASY IN THE MOVIES [$5.00 & SOcI 
MONSTERS WHO’S WHO [$5.00 & 50c] 
FRANKENSTEIN-FILM LIBRARY [$4.95 S 50c] 


of four of Your Favorite 
Monsters’ These colorful, 
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LA. FRANKENSTEIN. KONG 
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MONSTER 

STAMPS! 


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144 monster stamps, includes 
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PICTORIAL HISTORY OF 
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MONSTERS WHO’S WHO 

Crammed into one pic- 
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116 illos with 20 in fUH 
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fftKomirr 


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Edward Edelson 


KARLOFF AND COMPA- 

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GREAT MONSTERS ... A 
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The legends behind the 
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postage. 



















page 15 


The Monster Times 



depictions of gruesome Martian invasions, and the series was withdrawn from circuiation— not, 
thank Earth, before the Angry Red invaders got their^big-brained heathen heads smashed by the 
U.S. Army. It's the only way you’re gonna knock some sense into the likes of them, by Gar! 


The startling story of a Martian Invasion of Earth unfolds in ail Its gory glory in this Martian 
Bubble Gum Card series to end all Martian bubble gum card series. So much public-spirited 
pie»ui«was put on the card manufacturers, that it did indeed put an end to bubble gum card 


THE ATTACK OF THE BUBBLE GUM 


BY JOE KANE 


Back irfthe early ’60s, youthful scl-fl fans were treated to the goriest, 
most straightforwardly sadistic series of bubble gum cards ever 
unleashed upon an unsuspecting but appreciative public. Titled MARS 
ATTACKS!, the series graphically depicted a Martian Invasion of 
Earth, replete with blood, gore and melting flesh. TMT editor Joe Kane 
remembers the sinister series with fondness and tells all he knows 
about It In the following skimpy article... 


colorful cards several years' back. The 
cards featured gory depictions of wanton 
Martian acts of abrupt and senseless 
violence, accompanied by biandly under- 
stated captions like CRUSHED TO DEATH, 
BURNING FLESH, SMASHING THE 
ENEMY, DESTROYING A DOG and the 
like. There were 55 cards in all, 54 action 
scenes and one containing a summary of 
the whole sinister story. Each card had 
copy on the back, setting forth the 
continuing story of the Martian invasion in 
movie series style. Needless to say, the 
cards were eminently suitable for 
collecting, trading, flipping, framing and 
reprinting in THE MONSTER TIMES when, 
that publication can’t find anything better 
to run. 


Skull-faced Martians with large, exposed 
brains encased in fishbowl helmets invade’ 
Earth and greatly reduce the population of 
that planet by burning the flesh off 
stubborn resisters, shooting innocent 
civilians with frost rays and shrink-guns, 
attacking with giant robots and unleashing 
greatly magnified and exceedingly hostile 
insects upon the world. There’s panic in 
the air and terror in Times Square! London, 
Washington, China, and France are among 
the Tfrst 1o be hit as the Martians show 
neither mercy nor quarter, offing men, 
women, children and even— blast their 
black hearts!— dogs with utmost dispatch. 
The carnage ceases only when Earth 
launches a desperate counter-attack, and 
the carnage promptly begins anew— only 
on Mars this time, as the pushy red planet 
dwellers are handily bombed, smashed 
and crushed. And where did all this epic 
interplanetary mayhem transpire? In a 


Actually, nine out of every sixteen TMT 
editors agree that these cards- are worth 
preserving. For one thing, they didn’t 
waste much space on tiresome explana- 
tions of the outlandish action. When a card 
caption reads VICTIMS OF THE BUG, 
that’s just what you see alright— a giant 
ugly bug impaling a hapless person on a 
pincer dripping with the victim’s vividly 
rendered blood. And the drawing style of 
the anonymous artist who sketched these 
stomach-churning scenes certainly can’t 
be accused of having held back— the 
carnage and panic are effectively con- 
veyed. A tip of the TMT space helmet to 
him, wherever he is today. And may we yet 
see the day when the Martians win for a 
change. ■ 


Only America seemed to rate a personal visit 
from the fiends. When it came to destroying 
places iike Paris, the Martians sent common, 
ordinary giant insects in their stead. 

sci-fi novel? A comic book? A film? A bad 
dream? Nope ... it all happened in a series 
of modest little 2 V 2 ” by 3y2" bubble gum 
cards. 

In a fit of weird whimsy, a company 
called Bubbles Inc. issued the gruesomely 


Like most foreign invaders, the skeletal 
Martians favored precious golden American 
blondes above other Earthty women. 






pcig« The Moti»ter Time* page 17 





page 18 


The Monster Times 


COMIC 

HISTORY BOOKS 


AMERICANA IN FOUR 
COLORS ... The authori- 
tative book that answers 
the questions people are 
always asking about 
comic books. Includes 
complete text of the 
comics code. Si .00 plus 
254 


wen Krwwn comic strips 
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trace the history of comic 
art. Color and black and 
white. Paperback. Only 
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ALL IN COLOR FOR A 
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plus 354 


TARZAN 



TARZAN ALIVE. new 
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fanzines 




HISTORY 'OF COnrcs I 

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HISTORY OF COMICS II 
Second volume of Ster- 
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Covers in great detail 
Capt. Marvel and family, 
Blackhawk, The Spirit 
and many other heroes. 
Paperback Only ‘16.00 
plus 6M 


ALTER EGO ... The 
fanzine produced by 
Marvel editor Roy 
Thomas. Contains an 
interview and art on Gil 
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two Wally Wood /Roy 
Thomas unpublished 
tomic strips and articles 
on Jim Steranko, the 
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cons. Only $1.50 plus 
354 



PHASE ONE . A big well 
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INFINITY FIVE ... A fine 
art magazine including 
color covers by Todd ana 
Kaluta. A Richard “Gore" 
Corben interview and a 
color poster by Berni 
Wrightson. Also Neal 
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Bode. $3.50 plus 354 



COMIC AND CRYPT 6 ... 

Fine fanzine that includes 
an interview with Neal 
Adams, articles on Super- 
man. Capt. George Hender- 
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Ronn Sutton portfolio. 
S1.00 plus 354 




WONDERWORLD #9 .. 

Perhaps the finest fanzine 
ever produced about 
comic art. Contains con- 
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as, Russ Manning, Dan 
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others. Well-written and 
profusely illustrated. 
DnIySI.OOplus 354 


GRAPHIC STORY MAGA- 
ZINE #16 ... Features a 
great E.C. parody called 
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Evanier and Pound, “Ber- 
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by Basil Wolverton, "Rou- 
tine’.!., by George Metzger, 
an interview with Howard 
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WONDERWORLD #10 ... 

A fine follow-up issue, 
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354 


SeMious^^ 



TARZAN DIGEST ...giant 
148 page text and illustrat- 
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THE-SENSUOUS FRAZET- 

TA. A luscious collection 
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NEW!!! 
GOLDEN AGE 
REPRINTS 

Now,, for the first lime, 
you can enjoy owninc 
copies of the rares' 
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last available in low 
priced reprint editions. 
All FLASHBACK RE- 
PRINT books feature a 
FULL COLOR cover along 
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the original stories that 
appeared in the issue. All 
FLASHBACK REPRINTS 
are $3.(X} plus 35c post- 
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SPECIAL EDITION COM- 
ICS #1 ... 64 pages of 
CAPTAIN MARVEL. Fea- 
turing "Captain Marvel 
and tne Haunted House." 
"Captain Marvel and the 
Gamblers of Death," 
"Captain Marvel and Si- 
vana the Weather Wiz- 
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ag^red in 1940. $3.00 & 


ALL STAR-COMICS #2 . 
Features the adventures 
of THE SPECTRE. THE 
SANDMAN, FLASH, 
GREEN LANTERN. 
HAWKMAN, JOHNNY 
THUNDER, HOUR-MAN. 
and RED, WHITE, & 
BLUE. All in one book! 
This book was originally 
published 101940. $3.00& 


gubli 


ALL SELECT #1 ... 

Features CAPTAIN 
AMERICAS BUCKY, THE 
HUMAN TORCH^ JEEP 
JONES. THE ^LACK 
WIDOW, and THE SUB- 
MARINER This book was 
originally published in 
1943. $3.00 & 35c. 

CAPTAIN MARVEL #1 . . 

Featuring four classic 
CAPTAIN MARVEL 
stones from the very first 
issue of his comic. This 
book was originally pub-' 
iished in 1941 sloo & 
35c. 


GRAPHIC STORY MAGA- 
ZINE IS ... A superlative 
limited edition magazine 
featuring interviews with 
Gahan Wilson (PLAYBOY 
and NATIONAL LAMPOON 
"cartoonist of the absurd”) 
and Harry Harrison. Fine 
art throughout. Color 
Gahan Wilson cover and 
color Harrison and Wally 
Wood back cover. Only 
$1.00 plus 354 


- •TK£ 

/-v'sV- 


WORLD OF 
WILUAM M.GA{NES 

«V AUMX Mtoe* 

♦4 m 


MAD WORLD OF WIL- 
LIAM M. GAINES ... The 
outrageously funny book 
about the hilarious MAD 
MAGAZINE and the MAD- 
MEN who made it all 
happen, 16 ppg m color. 
S1.9Splus3M 



COMIC BOOK PRICE 
GUIDE. ..Tremendous re- 
ference ' work which 
grades your comics in 
price and condition. Over 
300 covers reproduced 
and thousands of comic 
listings. Only $6.50 
604 



GOLDEN AGE COLLEC- 
TOR ... Six classic comic 
stories, including tales 
by Basil Wolverton, Joe 
Simon, Mac Raboy and 
Paul Gustavson. Only 
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AMAZING WORLD OP 
SUPERMAN— Produced 
for the Superman Muse- 
um in Metropolis, Illinois 
this giant 11"x14’ maga- 
zine covers the history of 
Superman. Illustrateo by 
Neal Adams and others. 
Only $2.50 plus 604 


EC FAN ADDICT CON- 
VENTION MEMBERSHIP 
PACKAGE ... A Special 
value, given at the 1972 
EC Con. Contains a 2 " 
color EC button, conven- 
tion program, ballot for 
EC awards, membership 
ticket and more. Only 
$2.roplus354. 



HOT STUFF #1 ... Fantas- 
tic new fan mag with full 
color cpver by Ken Barr. 
Inside you get two great 
strips by Richard Corben. 
"Shadow of the Sword" by 
Buckler, and loads of 
other features. Full color 
back cover by Corben. 
Colleotor’s item. Only 
$2.50 plus 35c postage. 


THE HOUSE OF MYSTERY 
•1 ... adaption of comic 
stones in paperback for- 
mat. Text by Jack Oleck, 
color cover and illustra- 
tions by Berm Wrightson 
Only $1.00 plus 354 
THE HOUSE OF MYSTERY 
#2 ... More tales of the 
macabre, written by Jack 
Oleck from the comic book 
form And still more illus- 
trations by horror roaster 
Berm Wnghtson Only 
$1.00 plus 354 

MORROW 


NEW 


— dynamic 

comic features "Cody 
Starbuck" by Howie 
Chaykin, plus '‘The Birth 
of Death” by Jim Starlin 
and more by Steve 
Skeates and Wait Simon- 
son. A 48 page collector’s 
item. Only 75c plus 25c 
postage. 



SORCERY ... A comi^ 
book, but a very unique 
one. This is completely a 
Grey Morrow effort : writ- 
ing, pencilling, inking, 
lettering and cover work. 
Bound to be a collector’s 
item. 7Mplus.354 


AT LAST! After 20 years of hoping and praying, EC 
is back in full color, just as they appeared all those 
years ago. The best comics In the world are back 
again! ! 1 At only a buck each. 

EC REPRINT #2 is actuallv WEIRD SCIENCE #15 
and it Includes four more EC classics in full color as 
they originally appeared. The stories are: 
"Miscalculation" by Jack Kamen, “Bum Steer" by 
Joe Orlando, “The Martians” by Wally Wood and 
"Captivily " by Al Williamson. 

EC REPRINT #3 is actually SHOCK SUSPENSE 
STORIES #12 and contains the following four 
stories; "The Monkey" by Joe Orlando. "Fall Guy" 
by Wally Wood. "Deadline" by Jack Kamen and “The 
Kidnapper" by Reed Crandall. 

EC REPRINT #4 is actually HAUNT OF FEAR #12 
and contains “What's Cookin',” by Jack Davis, “Till 
Death Do We Part " by Joe Orlando. “On A Dead 
Man’s Chest" by Johnny Craig, and “Poetic 
Justice" by Graham Ingels. 

EC REPRINT #5 is actually WEIRD FANTASY #13 
and contains the following stories; "Home to Stay" 
by Wally Wood, “The Trip" by Jack Kamen, “The 
End" by Wally Wood, and “Don’t Count Your 
Chickens" by Joe Orlando. 

E.C. REPRINT #6 is actually CRIME SUSPEN- 
STORIES #25 and contains "Three For The Money" 
by Jack Kamen; “Dog Food" by Reed CrqndaH: 
■“Key Chain" by Bernie Kriegstein; and “The 
Squealer" by George Evans. 

E.C. REPRINT #7 is actually THE VAULT OF 
HORROR #26 and contains “Two of a Kind" by Craig ; 
"Graft ih Concrete" by David: "Half-Way Horrible" by 
Sid Check ; and "Hook. Line and Sinker” by Ingels. 

E.C. REPRINT #8 is actually SHOCK SUSPEN- 
STORIES #6 and contains ’Dead Right" by Kamen; 
"Undercover ” by Wood ; ’ Not So Tough" by Orlando : 
and "Sugarand Spice" by Ingels. 

E.C. REPRINT #9 is actually TWO FISTED TALES #34 
Betsy ” by Davis, "Trial by Arms ” by Wood, “En 
Crapaudine ” by S^erin. and ‘Guvrierner" by Evans. 

...These great collector ECs are only $1 (plus 354 
postage) each: How can you miss? Send today 
'cause they’re going fast! 


THE MONSTER TIMES BOOKSHELF, P.O. Box 595, Old CheJsea Station, New York, New York 10011 

Check the Items you wish to purchase. Please Include full amount with order. No C.O.D.’s accepted. New 
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The Monster Times 


page 19 


■I 



IT'S BefN ,,, SO 
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HECE WITH ME ! &OQ 
ONLY KNOWS HOW 
IWE MISSEP 

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USED TO SPEND TOOETHEC ,,, 
PANCIN&, 3IN&IN&, WALKINO IN THE 


PARK! X DON'T suppose YOU'D 
eeMeMBBR the time i waited 
TWO hours for you when 

V YOU WERE WOCklNE 
LATE,,, 


, , , AND THEN 
I PRETENDED I'D 
SEEN DELAYED AND HAD 
ONLY JUST ARRIVED / 




STILL I WOULD 
HAVE BEEN HAPPY 
WITH JUST A LITTLE 
OF YOUP Tr/WE,,, 


BUT NO, YOU 
WALKED OUT AND 
SOMEHOW I JUST 
COULDN'T FACE IT 
ANYMORE CSOSJ 










page 20 


The Monster Times 


V 



a 


page 21 










MONSTERTIMES 

BAGKISSIIES! 


TMT #30. SHOCK & 
SCHLOCK SPECIAL. 

All-Worst issue, with film- 
book on THE HORROR OF 
PARTY BEACH, 50 Worst 
HorrorFilms Ever Made, the 
World’s Worst Comics, and 
a portrait of low-budget 
filmmaker Ray Dennis 
Sleekier. Also included: 
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the 50s. an interview with 
schlock filmmaker William 
Grefe. Hugo Headstone 
strip, the Inferior Five and a 
preview of SCHLOCK, mon- 
ster movie satire. 51 & 25c 


THE MONSTER TIMES #31 . 
MARAUDING MARTIAN 

ISSUE, . Our all Martian 
issue, including a super 
filmbook and centerfold of 
WAR OF THE WORLDS. 
Also includes an article and 
comic strip on INVADERS 
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THE MONSTER TIMES, P.O. BOX 59S. 

OM CiMlaM Station, Now Yo(k. N.Y. 10011. 

PiMse send me these super collector's items as soon 
as possIMe ... 11 not sooner! 


No. 1 {S3.25] 

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TV Salute [31.75] 

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TMT #32. BEAST FROM 
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roaring rhedosaurus 
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Gene Roddenberry’s 
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profile of the late Kung 
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$1 A25c 


TMT #33. ALL-APE 
ISSUE! $1 & 25#. Super 
Simian Special includes 
complete story of all 5 
PLANET OF THE APES 
films. Photo-illustrated 
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KAMANDl, production 
scenes from KING 
KONG. SI# 25c' 


TMT #34, FEMALE FIENDS 
AND SWAMP MEN, Film- 
book on THE TIME MA- 
CHINE. A ghastly look at 
the rise of horror in 
underground comix. Star 
Trek Convention report. 
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the comicbook world. Zar- 
doz. The terrifying history 
of lady monsters in the 
horror film. Preview of the 
film "madhouse" and more. 

SI &25# 


TMT #35. RETURN OF 
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on Japanese monsters with 
a healthy hug for the great- 
est of them .. Godzilla. 
Part two of the Ladies of 
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our behind-the-scenes re- 
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make-up. Preview of "Cho- 
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tural Superheroes and 
more. $1 & 25# 


TMT 6, ZOMBIES ON PA- 
RADE. 

Features a zombie film 
survey, “Zombies in the 
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ZOMBIES. THE OMEGA 
MAN, a Dan Green comic 
strip, review of Berni Wri- 
ghtson’s BADTIME STOR- 
IES. NIGHT OF THE LIV- 
ING DEAD and a zombie 
color centerfold. You’ll 
never want to see zombies 
again., ever. $1 & 25# 


TMT 11, PLANET OF THE 
APES. 

Filmbook and centerfold of 
PLANET OF THE APES, 
the first apes movie. Also 
includes CONAN in the 
comics. THE NAVY VS. 
THE NIGHT MONSTERS. 
FRITZ THE CAT. an inter- 
view with Dracula. cover- 
age of the Graham Gallery’s 
comic exhibit and Hemi- 
sphere's Blood movies. 

$3&25# 


TMT 18, PIEDRAS BLAN- 
CAS MONSTER. 

Filmbook and golor center- 
fold on the classic (?)•- 
MONSTER OF PIEDRAS 
BLANCAS. Willis O’Brien’s 
missing monsters, preview 
of DRACULA A.D, .1972, 
“When Monsters Rul^ the 
Comics.” PeriY Rhodan of 
Germany-, First Annual 
Monster Poll and King 
Kong comics. 4 25# 


TMT 19, TERRIFYING TAR- 
ANTULA, 

Filmbook and color center- 
fold on TARANTULA, arti- 
cles on Dr. Death and Dr. 
Shock, the return of E.C* 
comics, “Hercules in the 
Comics," Late Film round- 
up. review of some recent 
monster movie campaigns, 
and some really repulsive 
comics. ^ 25# 


TMT #26 DESTROY ALL 
MONSTERS! . 

Our fabulous DESTROY 
ALL MONSTERS issue, 
featuring filmbook and 
centerfold. Also included 
are exclusive shots on the 
STAR TREK cartoon, 
articles on Superman’s 
Metropolis Museum, Wax 
Museum, New York 
Comicon, hot stills, horror 
in the media and Rondo, 
Hatton. ^ 25# 


THE MONSTER ’HMES #27 
VAMPIRES' PARADE, 

Our special ail-vampire 
issue, featuring Forgotten 
Vampire Classics of the 
Screen, an article on The 
Decline and Fail of Bela 
Lugosi, a Neal Adams 
vampire centerfold, review 
of DREAM OF DRACULA 
and the long-awaited Jess 
Franco COUNT DRACULA. 
Also Esteban Maroto 


TMT 1. COLLECTOR’S 
CLASSICS, 

Our special premier issue 
containing part one of “The 
Men Who Saved Kong." 
NOSFERATU, DER GOLEM 
and BUCK ROGERS. Also 
include^ is a Berni Wright- 
son Frankenstein color 
poster and Wrightson’s 
NOSFERATU comic strip. 

$3&25# 


TMT 12, GORGEOUS 
GORGE. 

Filmbook and color center- 
fold on GORGO, review of 
Steranko's HISTORY OF 
COMICS, more Blood 
movies, more Seymour. 
“Behind the Scenes at the 
PLANET OF THE APES, 
preview of WILLARD. THE 
MOST DANGEROUS 
GAME and a special rat 
comic strip. $1 & 25# 


TMT, 13. SPECTACULAR 
SPIDER-MAN, 

An interview with Spidey's 
artist and writer, Sprider- 
Man's most monsterous 
villians, DR. PHIBES. fan- 
zine reviews, still more 
Blood movies, survey of 
the comic con phenom- 
enon. still more Seymour 
and a sf>ecial Spidey color 
centerfold by Kane and 


TMT TV SCI-FI SPECIAL 
SALUTE. - 

Our special 40 page maga- 
zine devoted to STAR TREK 
and the best TV SF. Six 
color STAR TREK Posters, 
the 1972 STAR TREK Con. 
The OUTER LIMITS, LOST 
IN SPACE, U.F.O., STAR 
TREK quiz, THE SPACE 
GIANTS, and four stories 
on the STAR TREK cast of 
characters J1.50&254 


TMT COLLECTORS’ ISSUE 
No. 2. “THE PEOPLE OF 
STAR TREK,” ' Inside 
stories on all the STAR 
TREK stars and the inamor. 
tal characters they por- 
trayed: William Shatner, 
Leonard Nimoy, DeForest 
Kelley, Nichelle Nichols, 
James Doohan and the rest 
of the ST crew, plus Many 
exciting Illustrations & 
photos. j, 4 25* 


TMT 4, BRIDE OF FRANK- 
ENSTEIN. 

Filmbook of the classic 
BRIDE OF FRANKEN- 
STEIN, review of THE 
PULPS, article on GRfEN 
Lantern/Green Arrow, a 
two page Jeff Jones comic 
strip in color, Roger Gor- 
man meets Edgar A. Poe, 
"Dracula Goes To Court." 
and the worst films of 1971 . 

$1 &25# 


TMT 5. CREATURE* FEA- 
TURED, 

Filmbook and giant color 
poster of THE CREATURE 
FROM THE BLACK LA- 
GOON, interview with TAR- 
ZAN comic's Joe Kubert. 
Humphrey Bogart’s only 
moster movie, more Jeff 
Jones comics and an arti- 
cle on ESQUIRE'S hip 
comic stories Not to men- 
tion "Mushroom Mon- 
sters." $1 & 25# 


TMT 2, SPECIAL STAR 
TREK EDITION. 

Our first all STAR TREi< 
edition, featuring the “Star 
Trek Saga," interview with 
William Shatner. profile of 
Leonard Nimoy and story 
on Gene Roddenberry. Also 
Gray Morrow's Star Trek 
color centerfold. STAR 
TREK comics and “Space- ' 
men of the ’SO's," 

$3&25# 


TMT 3, GIANT BUGS ON 
THE MUNCH. 

Filmbook of bug classic, 
,THEM. “Bugs in the Co- 
mics" by Marv Wolfman. 

The Empire of the Ants" 
by H. G. Wells, a Rich 
Buckler comic strip and a 
review of "Stan Lee at Car- 
nagie Hall Also a giant 
KONG color poster and 
part two of "The Men Whef 
Saved Kong." $1 g, 25^ 


TMT 22, GREEN SLIME 
BLUES, 

Filmbook on GREEN 
SLIME, preview on THE 
VAULT OF HORROR. God- 
zilla vs. Ghidrah, GENESIS 
II, article on New York's 
CREEP, results of the 
Monster Poll, review of- the 
KLINE PORTFOLIO, and a 
trip to the Amicus studios. 
Also. TMT’s exclusive Ml. 
MONSTERMORE. Seeing 
is believing! « 95# 


TMT 16, GODZILLA FO 
PRESIDENT!, 

Our spectacular issu 
breaking the story thi 
Godzilla is running fc 
president, with a cole 
centerfold to match. Als 
included are articles 0 
MIGHTY JOE YOUNG 
COUNT YORGA and sti 
more PLANT MONSTERS 
An Interview with Vincer 
Price, and “Comics Go t 

$14 25 


TMT 17, SUPER SCIENCE 
FICTION, 

Filmbook and color center- 
fold of FORBIDDEN PLA- 
NET. review of FLASH 
GORDON HERITAGE, THE 
MYSTERIANS. behind the 
scenes at the latest apes 
movie. SF TV GUIDE, pre- 
view of ASYLUM, interview 
with Rod Serling and re- 
view of the s-f WORLD- 
CON. y 4 25# 


TMT 24, REGAL RODAN 

Filmbook on RODAN with a 
free color centerfold of 
same. Also Basil Wolverton 
comics’ THEATRE OF 
BLOOD, Review of HIS 
TORY OF COMICS vol. 2. 
the Last of The Planet of 
The Apes and much more 
in our special BILL OF 
RIGHTS issue. ^ 25^ 


TMT 25. THE FANTASTIC 
FLY, Leading off 

with a double filmbook on 
THE FLY and THE RETURN 
OF THE FLY and a Fly 
centerfold. Also articles 
about CAPT. MARVEL'S 
creator, C.C. Beck and 
BROOM-HILDA's Russell 
Myers. Also, Ladies and 
their monsters and WERE- 
WOLVES ON WHEELS. A 
fantastic mixed bag issue. 

S1 & 25# 


TMT 21, THE TOTAL 
FRANKENSTEIN. 
Filmbook on 193rs 
FRANKENSTEIN, a com- 
plete FRANKENSTEIN 
filmography, the real Cas- 
tle Frankenstein. “The De- 
cline of Franksenstein,” in- 
terview with Glen (Franken- 
stein) Strange. "Franken- 
stein In the Comics.” and a 
color centerfold with all the 
FRANKENSTEINS of the 
movies. $14 25# 


TMT 15, VALLEY OF 
GWANGI, 

Filmbook and centerfold on 
THE VALLEY OF GWANGI, 
an interview with Alfred 
Hitchcock. "Vampires in 
the Comics." preview of 
BLACKULA. THE PLANT 
MONSTERS, review of HPL 
magazine, Godzilla's own 
column, some real mon- 
sters and CHILDREN 
SHOULDN'T PLAY WITH 
DEAD THINGS. $1 & 25# 


TMT 23, GADZOOKS, 
GODZILLA, . 

A-special 40 page magazine 
issue of TMT devoted to 
GODZILLA and his friends. 
Including a GODZILLA 
filmbook. four color GOD- 
ZILLA posters, the friends 
of GODZILLA. Tom Sut- 
ton's super comic strip 
RAT! and more on the 
Greatest Beast in the 
World, Godzilla. ^ 25# 


TMT 20, STILL MORE S-F 
AND STAR TREK. ' 

Our third s-f issue contains 
a 12-page STAR TREK pull- 
out, which includes our al- 
ready classic "Keep On 
Trekin’ ’’ poster, STAR 
TREK filmography. STAR 
TRtK Yellow Pages, review 
of the STAR TREK books 
and Mr. Spock model. Also 
FUMANCHU. ^,254 


TMT #28, HUNCHBACK 
SPECIAL, ... A special 
Lon Chaney/Hunchback 
issue with centerfold 
puppet of the Hunch- 
back, an article and 
illustrations on 
Chaney's make-up tech- 
nique. Also, PLASTIC 
MAN, Willis O’Brien's 
BLACK SCORPION, new 
Hammer releases and the 
WAX MUSEUM. 

$1 & 25# 


TMT #29. ABOMINABLE 
SNOWMAN. . Filmbook 
on the Universal Films 
Classic HOUSE OF 
FRANKENSTEIN. E.C. 
comics, television cartoon 
guide, two Abominable 
Snowman articles, Glenn 
Strange memorial. SIN- 
BAD’S GOLDEN VOYAGE. 
Also FROM HELL IT CAME 
AND Death is a Way of Life. 

S1 &25# 


TMT, 14. WICKED WOLF- 
MAN, 

Features a filmbook and 
color centerfold of WOLF- 
MAN. article on comic’s 
chauvinist pig. THE PHAN- 
TOM. GODZILLA. "Behind 
the Scenes at SILENT RUN- 
NING. " review of SCIENCE 
FICTION .^ILM. CON- 
QUEST OF THE PLANET 
OF THE APES and an inter- 
view with Peter Cushing.. 

$1 & 25# 







The demented Dr. Nolter(Donald Pleasance), resident mad 
medic of Columbia’s MUTATIONS, busies himself by con- 
ducting unspeakable experiments in the name of science. 
His ill-advised attempts to cross plants with humans result 
in the creation of several cross monsters who fail to share 
his enthusiasm for the projec^. 




How do you combine a mad 
doctor’s experiments in genetic 
plant mutation with a sideshow 
motif replete with real “freaks”? 
Well, it’s not easy, but a new 
horror film from Columbia Pic- 
tures, MUTATIONS, has given it a 
brave try, as you’ll see in this 
special TMT preview of a horror 
film that boasts the largest and 
weirdest assortment of monsters 
per square celluloid foot in recent 
liorror history... 


I 


It’s a natural, if not always accurate, 
human tendency to associate physical 
aberration with insanity, violence and 
fear. Not always — or even normally— 
accurate because some of the gentlest 
people who ever lived have been 
physically aberrant. A case in point was 
an unfortunate individual who lived in 
Victorian England and who, due to 
unbelievably disfiguring skin diseases and 
birth defects, was dubbed the “Elephant 
Man” and cruelly exhibited in slum 
storefronts by a series of self-styled 
promoters. Perhaps the most physically 
repulsive human being who ever lived, the 
“Elephant Man” turned out to be a gentle, 
highly sensitive and intelligent individual 
who was prone to reading romantic novels 
and capable of constructing delicate 
architectural models even though he had 
the full use of only one hand. The whole 
incredible story can be found in detail in 
Ashley Montague's psycho-biogpraphical 
study, THE ELEPHANT MAN. 


Physically distorted humans, or 
“freaks,” have served as the controversial 
subjects of several horror films. While 
there’s no doubt that Tod Browning did to 
some extent exploit his cast of real-life 
dwarves, midgets, limbless men, bearded 
women and “pinheads” in his offbeat 1932 
horror film FREAKS, he also demon- 
strated the equally real and often moving 
camaraderie that existed among the 
unfortunate members of the “freak” 
community. They’re depicted as a warm, 
supportive group of people, with their 
own set of customs and rituals, who are 
able to draw comfort from one another 
and help allay the pain involved in living 
out their lives as sideshow freaks. Only 
when outsiders, a cruel, malicious trapeze 
artist and her strongman partner, try to 
take advantage of one of their number do 
they strike out in a violent rampage of 
revenge. Throughout the film, audience 
sympathy is definitely on their side. 

The circusi'eak motif was picked up for 
use a couple of times after Browning’s 
controversial film, once in a low-key B film 
called HOUSE OF THE DAMNED in 
1%2, and again in a quickie shocker titled 
SHE FREAK in 1967. While the former 
film did employ actual freaks, they didn’t 
appear until the film’s conclusion and were 
in no way presented as malicious or 
menacing, merely frightened. SHE 
FREAK didn’t use actual freaks as far as 
we know, but borrowed liberally from the 
plot of Browning’s film and sported a 
similar ending. Neither film caused much 
of a stir in cinematic circles and went 
unnoticed by almost all but the most 
devoted of fantasy film pedants. 


ITS not nice to fool wnn 

Mollier Nature j 

Ncanbe M 
HORRIFYINei J 




JKONAUlGEm 


.. jraCAeOIFF-COlllR 




page 23 


The Monster Times 


^ - 



This mad mutation wraps 
his leafy arms around 
Donald Pleasance to protest 
the vile experiments that 
have made him what he is 
today: half-man, half- 
Venus Fly Trap. While his 
approach to the problem 
may seem drastic, it’s a lot 
quicker than filing a formal 
complaint with the AM A. 


This skeletal lady and 
stocky dwarf are but two of 
many actual freaks used in 
the film. Whether these un- 
fortunate people are treated 
sympathetically or merely 
exploited in the film will be 
up to you, the reader, to 
decids. 

In addition to 
being the first film fo 
combine sideshow and 
pianf monster motifs, 
MUTATIONS also marks the 
final screen appearance put 
late, great Michael 


HORRIBLE HYBRIDS 

n«w a new “freak” film is due to appear 
any day now on the horror horizon. 
MUTATIONS, a filmed-in-Britain Colum- 
bia release, combines actual sideshow 
freaks with makeup man Charles Parker’s 
own creations in a story that details the 
efforts of one Dr. Nolter (Donald 
Pleasance) to create a hybrid between a 
Venus Fly Trap and an animal (no, we’re 
not kidding). The resultant mutations are 
ambulatory carnivorous plants that, 
naturally enough, go around devouring ’ 
people, places and things with utmost 
dispatch and indiscriminate abandon. To 
add further chills, the filmmakers set the 
mutation story against a carnival 
sideshow backdrop. In order to add a dash 
of realism to the proceedings, the 
filmmakers conducted a search through 
the carnivals of America in hopes of 
finding some real freaks ' to add to the 
film’s cast. They found four such people 
suitable for their purposes and flew them 
to England to appear in the film: Willie 
Ingram, called “Popeye” because of his 
ability to project his eyes by nearly an 
inch; Esther Blackman, a skin disease 
victim whose flesh resembles alligator 
skin; Felix Duarte, the “Frog Boy;” and 
Hugh Bailly, whose contorted body has 
earned him the stage name, “the Pretzel 
Man.” Whether these and the other freaks 
employed in the film are given 
sympathetic or sensationalistic treatment 
will be up to you, the audience, to decide. 

In addition to being the first film in 
some time to use a large number of actual 
freaks, MUTATIONS also marks the final 
film appearance of Michael Dunn, who 
plays Burns, a co-owner of the freak show. 
Many of the carnival-related scenes were- 
filmed at London’s large Battersea Fun 
Fair amusement park over the winter 
months when the park was empty. The 
scenes at Dr. Nolter’s experimental 
“farm” were filmed in the countryside at 
Bray, Maidenhead — a site that supposedly 
even scared Donald Pleasance, who plays 
the film’s requisite madman. 


SCIENCE CAUSES CREEPING FLESH 

According to MUTATIONS’ director. 
Jack Cardiff: “We want to make our 
audience’s flesh creep, but we also want 
them to understand that this is what 
science could be capable of. MUTATIONS 
is about a scientist who has gone beyond 
the point of moral return.” To add further 
technical expertise to the tale, Columbia 
called in Kenneth Middleham, photo- 
g;rapher of the biochemistry scenes in 
THE HELLSTROM CHRONICLE, to 
handle some special effects showing what 
happens within the cells of the human 
body when outside pressures— chemical or 
otherwise — are imposed on the cellular 
structure. In MUTATIONS, the physical 
changes are drastic indeed. 

As MUTATIONS’ producer Robert 
David Weinbach points out, “Anything is 
possible these days. With the tremendous 
advances in science it is creditable that in 
our own lifetime it will be possible to 
create our own mutations.” Only time will 
tell if that statement is a true one. 
Whether or not it’s a comforting notion 
depends on the mental makeup of the 
individual, but we. at TMT are willing to 
give it a go. In the meantime, you might 
want to check out what MUTATIONS has 
to say about the whole eerie evolutionary 
affair. g 


MUTATIONS (1974) Columbia Pictures. 
Produced by Robert D. Weinbach. 
Directed by Jack Cardiff. Screenplay by 
Robert D. Weinbach and Edward Mann. 
Makeup by Charles Parker. Starring 
Donald Pleasance (Dr. Nolter), Tom Baker 
(Lynch), Brad Harris (Brian), Julie Ege 
(Heidi), Michael Dunn (Burns), Scott 
Antony (Tony), JUl Haworth (Lauren), 
Olga Anthony (Bridget). With Lisa 
Codings, Joan Scott, Toby Lennon, 
Richard Davies, John Wreford, Eithne 
Dunne, Tony Mayne, Molly 'Tweedly, 
Kathy Kitchen, Fran FuUenwider, Lesley 
Roose, Fay Bura, Dee Bura, O.T., Madge 
Barnett, Willie Ingram, Esther Blackman, 
Hugh Baily, Felix Duarte. 


during the production 
stages ol MUTATIONS, 
fashioning some of the 
most fiendish masks and 
makeups ever to grace a 
single fright film. 









...is our way of getting the. latest 
hot-off-the-weird-wire info you, 
serving up all the news of what's 
cookin' in every medium, from the 
rare to the half-baked to the well- 
done; reviews, previews, bulletins 
and controversial commenis on 
horror, sci-fi and fantasy happenings 
in films, books, comics, TV and even 
real life. We have spared no costs, 
time or tender egos in bringing you 
this expanded edition of our bejoved 
Teletype page, so feel free to send us 
letters lull of lavish praise for our 
selfless efforts to keep you “in-the- 
know." Handling Fright Film Fore- 
casting chores is “Breezy Bill” Feret, 
who kicks off this feature with his 
column, which begins directly be- 
low... 


If you haven't already heard. Roman 
PolanskTs production of CHINAt 
TOWN has been receiving raves, 
being more-than-favorably compared 
to the now classic THE MALTESE 
FALCON. They say Jack Nicholson is 
a sure bet to cop the Oscar. 
Nicholson is purportedly set for the 
lead in Asimov's filmization of CAVES 
OF STEEL. They say CHINATOWN is 
one whodunit that you won't 
pre-guess I 

United Artists is currently produc- 
ing THE RETURN OF THE PINK 
PANTHER, sequp' to its deiighttui 
predecessor. Henry Mancini again 
pens the score. Location shooting 
has been taking place in Marrakesh, 
Nice and London. Marvelous Peter 
Sellers again repeats as the bungling 
Inspector Clouseau. UA is also 
planning a musical adaptation of the 
Dickens' classic, GREAT EXPECTA- 
TION'S,' with Michael York, Sarah 
Miles, and James Mason. For we 
lovers of the eerie, there's always that 
wonderfully mad Miss Haversham. 

Boy, what limits one will go to to 
establish good box-office: AlP is now 
readying EXORCIST STING, along 
with BLACK EXORCIST. What, no 
GONE WITH THE EXORCIST or THE 
SOUND OF EXORCISM? 

Luis Bunuel, famed Spanish 
director, is now in competition with 
his son, Jean Luis, who is preparing 
a pic entitled LEONORA. The lady of 
the title is a Vampiress. Michel 
Piccoli is set as the male star, and 
they are trying to cajole Liv Uilman 
into playing the heroine. 

SEIZURE. a new film from Cinerama 
Releasing, ought to be -turning up 
shortly. The film deals with the 
apparitions, both real and spectral, of 
a man taunted by visions of a dwarf, an 
executioner, and a queen of evil— the 
last-mentioned played by beastly 
beauty Martine Beswick. Aiding and 
abetting her in the perverse proceed- 
ings is none other than Jonathan Frid 


LOOKING FOR ACTION? 

SERGIO LIEMAN HAS IT ALL 

TOP GROSSING HORROR 
AND SCIENCE FICTION FILMS - 

THE GHOST GALLEON horror. 

THE LORELEI'S GRASP horror 
DRACULA'S GREAT LOVE iHORROR 
THE HUNCHBACK OF THE MORGUE horror 
THE DEVIL'S SAINT iEXORCism, 

VENGEANCE OF THE ZOMBIES iHORROR 
A CANDLE FOR THE DEVIL -horror 
THE BLOOD SPATTERED BRIDE 'HORROR 
AUTOPSY - ‘i 
1 HATE MY BODY SCJ fi ’ 

THE LEGEND OF BLOOD CASTLE. AND OTHERS . 


AND FOR ANY KIND OF CO-PRODUCTIONS 
OR PRODUCTION ARRANGEMENTS, CALL ... 

SERGIO LIEMAN IN MADRID 


The Monster Times 


Watch out for a feller named Sergio 
Lieman! Never heard of him? I'm not 
surprised, but he seSms to be the 
Spanish version of the Italian film 
entreprerffeur Carlo Ponti. He's pro- 
ducer of such Spanish spook shows 


as THE GHOST GALLEON, THE 
LORELEI'S GRASP, DRACULA’S 
GREAT LOVE, THE BLOOD SPAT- 
TERED BRIDE, and I HATE MY 
BODY. 


of DARK SHADOWS fame. Co-star- 
ring are Troy Donahue (remember 
him?) and JoeSirola, henchman to the 
Magician oh TV. 


Seems the hero of 11 HARROW- 
HOUSE will be a cockroach. The film 
is a robbery thriller starring Candice 
Bergen and those old trusty stand- 
bys: James Mason, Trevor Howard, 
and John Gielgud. 

A lot of gore for your money will be 
found in a rather inept, though very 
bloody British import called SYMP- 
TOMS. 

Angela Pleasence (Donald's daugh- 
ter) plays a highly zealous axe 
murderess, with Lesbian undertones. 


LANAIIJIINER 


Starring 


RALPH BATES OLGA GEORGES-PICOT 


FRANKENSTEIN AND THE MON- 
STER FROM HELL is stirring up 
British audiences now, so it ought to 
be rearing its ugly head here anytime 
now. A goodie entitled BECAUSE OF 
THE CATS is due from Holland. This 
suspenser sounds like it might be a 
real "Dutch treat," no? 

Another ex-chorus cutie, Shelley 
Winters, stars in the Canada-based 
chiller JOURNEY INTO FEAR with 
such macabre-masters. . as James 
Mason and bonald Pleasence, along 
with Sam Waterston, fresh from THE 
GREAT GATSBY. 

Happy Holidays? I hardly think so, 
not at least in another Canadian- 
produced venture entitled BLACK 
CHRISTMAS. It boasts a good cast 
too, including John Saxon, fresh from 
Roddenberry's PLANET EARTH, ex- 
JULIET Olivia Hussey, and both of 
those sinister SISTERS— Margot Kid- 
der. Sounds interesting. Think the 
villain.has “Sandy Claws"? 

Cinema Records has a recording 
out now of theme music from such 
illustrious films as MASTER OF THE 
WORLD, BARBARELLA, FORBID- 
DEN PLANET, THE TIME MACHINE, 
and DESTINATION MOON. 

Sing a song of Savage? Yes, I think 
so, since words and music are being 
written for Warner’s DOC SAVAGE ... 
MAN OF BRONZE. 

While we are a-singing, gel set for 
Dracula's song-and-dance debut. In 
California, the Berkeley Repertory 
Theatre has presented a musical ver- 
sion of the Bram Stoker classic. 
Would that I had been there to see^it. 
Or better yet, let’s hope they might 
take it on tour. Some of those toothy 
tunes utilized were: “Welcome to 
Transylvania," “Evil,” “Boxes of 
Clay," “Have to Stay Awake," “Nos- 
feratu,” and “The Bat,” These would 
certainly make the “top ten” on our 
"Bat Parade.” 

Keep smilin’, fiends, and fangs for 
the memories. i 


SF&F is TMT’s general, all-purpose, 
miracle science fiction column, 
bringing you a variety of reports from 
the worid of sci-fi by a crack team of 
experts. Books, films, comics, 
magazines, television, radio and even 
real life will be amply covered by the 
likes of R. Allen Leider, Ed Summer 
and a whole host of guest typewriter 
titans whose sole aim in this or any 
other world is to get the latest sci-fi 
news to you. 


ANDROIDS, TIME MACHINES AND 
BLUE GIRAFFES. Edited by Vic 
Ghidalia and Roger Elwood. [Follett] 
S6.95. Hardcover. 

This is a collection of short stories 
by old masters and young newcomers 
calculated to fit into the realm of 
everyone's favorite sci-fi area. 
Authors include Ambrose Bierce, 
Poe, Lovecraft. Asimov, Verne and 
similarly illustrious others. The 
selections are broken down into 
specific' categories, i.e., robots, 
monsters, space travel, etc., so 
there's something tor everyone. Good 
reading ^for short intervals when 
attention- spans are running short or 
lengthy involvements are impossible. 
Just the type of stories we used to 


TOYS GO APE: Mego Corporation 
has begun to market Planet of the 
Apes Action Figures. ' The set 
includes Zira, Cornelius, Zaius, a 
soldier gorilla and an astronaut. 
Accessories for the figures are also 
available in the form of an Ape village 
and an Ape tree house. For the 


enjoy on TWILIGHT ZONE. 

CAN YOU FEEL ANYTHING WHEN I 
DO THIS? By Robert Sheckley [DAW] 
$.95. Paperback. 

16 of Mr. Sheckley’s short stories 
that will delight you, not only 
because of his sense of humor and 
unique literary style, but because he 
exhibits REAL storytelling talent, not 
just scribbling lines to fill out a 
shallow idea as some other writers 
do. The topical references and glib 
phrasing make Sheckley easy to read. 
In toto. the book is a delightful 
departure from pulp sci-fi. 

Meanwhile, the saga of Perry 
Rhodan continues with four new 
additions to the collection. The new 
volumes by Ace Books are: (#43) LIFE 
HUNT by Kurt Brand, (#44) THE 
PSEUDO ONE by Clark Darlton, (#45) 
AGAIN-ATLAN by K.H. Scheer, and 
(#46) UNKNOWN SECTOR; MILKY 
WAY by Kurt-Mahr. As one can see, 
Perry Is not the creation of one mind, 
but a manufactured hero designed for 
entertainment and, profit, not merit. 
The books are very readable and quite 
succg^sful. They might even be TV 
series material : it's that kind of stuff. 
LIFE HUNT is about a galactic zoo 
where men are creatures confined in 
cages. The inhabitants of the zoo are 
ageless, and Perry's task is to find the 
secret of their eternal youth in order 
to save the lives of his ail'ing wife and 
best friend. THE PSEUDO ONE is a 
spy story: Perry is out ' to rescue 
trapped agents on a remote planet 
with lets of complications. 
UNKNOWN SECTOR is an adventure 
with plenty of unusual beings and 
new cultures, while AGAIN :ATLAN 
pits Rhodan against a super criminal. 

The back ‘of each of these books 
contains a sort of .fan club section 
called The Perry Scope. It contains 
mostly fan mail and-ltmits the extent 
to which this can be considered adult 
fiction. I 'still see it as an animated, 
Saturday morning TV program for the 
kiddies. 

AMT, who brought you the Star 
Trek Starship Enterprise and Klingon 
Battle Cruiser models, has laid an 
egg. It’s the UFO mystery ship and 
it's a total dud. There must be less 
than fifteen pieces to the thing and 
the scout ship “extra” that the box 
promises is less than an inch .logg 
and only 'four small pTeceS^'^W^fu'f'’* 
together. It glows in the dark. -So 
what? It's still a rip-off. 


soldiers, they also make an action- 
horse. We'll be scrutinizing these new 
items for future appraisal. With the 
Apes films scheduled for re-release 
this summer and the TV series not far 
off, we may be up to our hairy chests 
in Ape toys before Fall. I 


CON-CALENDAR 

THE CON-CALENDAR is an exclusive feature of TMT. Across the 
country, comic nuts, sf fans, monster freaks. and the like are 
constantly gathering to buy, sell, trade, collect and listen to 
speeches. As with most gatherings of fans, the conventions often 


border on the insane, but the people are friendly and there’s always a 
good chance you’ll pick up some rare item for your collection. And 
they're great places to meet people— famous, infamous and plain 
unknown. 

If you’ve never been to a “con,” we highly recommend you try one. 
They vary in size, emphasis, and quality, of course, but they’re all fun 
to attend. We at TMT will do our part by keeping you informed of all 
upcoming cons. 


Lana Turner has wound up 
shooting on Tyburn’s production of 
PERSECUTION in London for pro- 
ducer Kevin Francis. The “Glamour 
Ghoulie" co-stars with Trevor Howard 
and Suzan Farmer. Tyburn sefemS to 


have a lot of interesting gems to 
watch for, such as Peter Cushing's" 
THE GHOUL (title role played by Don 
Henderson), LEGEND OF THE WERE- 
WOLF, BY THE DEVIL. ..POSSESSED 
and DRACULA’S FEAST OF BLOOD. 


DATE 

CONVENTION 

LOCATION 

PRICE 

FEATURES 

Sept. 29 

SUPER-CON II 

Philip Hecht 

383 E. 17th St. 
Brooklyn, N.Y. 11226 

SGT. JOYCE KILMER 
AMERICAN LEGION POST 
Brooklyn, New York 

SOtf atthe door 

Dealers 

room . 

3rd Sunday 
every month 

NOSTALGIA 

4 Church Street 
Waltham, Mass. 02154 

Howard Johnson 

Motor Lodge 

7Sd 

comic books, 
pulps, toys, 
movies, auctions 

November 

8to11 

FAMOUS MONSTERS 
CONVENTION 
PhHSeuling 

c/o Warren Publishing Co. 
145 E. 32nd St , N.Y. 10016 

HOTEL COMMODORE 

New York City 

sloo 

at the door 

Surprises 

Galore 

Aug. 9 
to Aug. 11 

NOSTALGIA 74 

Nancy Warner 

10 S. 540 Country Line Rd. 
Hinsdale, III. 60521 

PLAYBOY TOWERS 
Chicago, III. 

$2 at the door 
$5 all 3 days 

Guest- 
Buster Crabbe 

Films & Fun 

1st Sunday 
every month 

HOLLYWOOD 

COMIC CON 

635 N. Citrus Ave. 
Hollywood, Calif. 90036 

HOLLYWOOD 
WOMAN’S CLUB 
Hollywood, Calif. 

S1. 

50# under 12 

feature films, 
cartoons 
& lots of 

tradings and guests 














The Monster Times 


COMICS is our simple, straight- 
forward, quietly eloquent and highly 
unimaginative title for a column 
designed to keep you up-to-date with 
news of the latest happenings in the 
comics world and reviews of 
Comicdom’s many and sundry prod- 
ucts. Under the absent direction of 
comics maven Joe Brancatelli (who, 
though nowhere to be found, still 
insists he is following a positive policy 
of benign neglect in the matter), 
COMICS will deal with any topics 
related to the graphic arts that we feel 
will be of interest to our readers. 
COMICS commentators include Ed 
Summer, Joe Kane and a sinister 
stabie of guest columnists, bent, one 
and all, on bringing the graphic news 
to you. 


—THE ART OF HUMOROUS ILLUS- 
TRATION by Nick Meglin, Watson 
Guptill Publications, $1 1 .95. "A 
Serious Look at a Humorous Subject: 
12 of Today’s Top Humorous Illustrat- 
ors at Work." 

Introduction by Federico Fellini. 


A goody for the aspiring and the 
uninspired artist, or for the fan who 
would like to know a lot more about 
how the eccentric gears in a 
humorous artist’s head mesh (or 
make a mesh, as the case may be). 
Enough text to explain the facts, 
ma’arp, enough pictures -to allow you 
tcf^ISlTe’ancfguffaw even if you don’t 
read all the serious parts. Something 
for everyone. 

The book is arranged in alphabeti- 
cal order, which puts Sergio 
Aragones first. Sergio at the very 
least makes me smile, and at his 
best, he reduces me to a helpless 
blop of happy palpitations. 

In the middle are Paul Coker, Jack 
Davis, Mort Drucker, Gerry Gersten, 




Johnny Hart, Allan Jaffee, Bob 
Jones, Donald Reilly, hforman Rock- 
well, and Arnold Roth. 

And at the end, is Maurice Sendak, 
noted for his children's books. (Right 
away, I’m a sucker for any book with 
Sendak illustrations.) Sendak's phi- 
losophy sums up the book very well, 
too, when he says “...to work for 
personal satisfaction. Working with 
sincerity and integrity has always 
been rewarding in art and, usually it’s 
the best way to satisfy others.” All of 
the men who are represented in this 
book seem in orre way or another to 
have followed this precept. Though 
some of them are incredibly prolific, 
and many of them do commercial 
work (somehow anathema to being 
called a “true artist"), not a single 
illustrator is merely a hack who 
finishes his assignments fer-the- 
helluvit. There is care and effort and 
unique vision in all of their work. 

Nick Meglin points out, in the 
section on Norman Rockwell, that 
“Somewhere along the line humor in 
fine art has been dealt a deadly blow. 
Those who determine taste ... have 
decided it’s all right for an artist to 
move us to tears, change, revolt, and, 
rn some cases, sleep— but to laugh is 


page 25 


one who has to have a deadline 
hanging over his head in order to get 
his work done. 

Each artist explains his basic 
working philosophy, Ijis personal 
history, his favorite pen and ink 
combination, use of color, what he 
feels he is trying to accomplish with 
his work. Each of the artist’s major 
pictorial qualities are illustrated with 
art example: each section ends with a 
mini-portfolio of finished work. It’s a 
little sad that there couldn’t have been 
a color section, since these men use 
color so well. 

I suppose the fact that 7 out of 12 
artists are amongst my favorite 
funnymen with pen and ink can be 
disregarded as prejudicial insofar as 
liking this book is concerned. On 
second thought, I have to be honest, 
so I'll say right out that most of the 
guys that Nick Meglin has bothered to 
write about are really great. Combined 
with having Federico Fellini write the 


beneath the artist’s station. Satirical 
work ... can be excused ... as an 
accepted vehicle for promoting 
serious thought. Humor for humor’s 
sake, however, is considered low- 
brow: hence, the lack of it on 
museum walls.” 

The artists have been carefully 
chosen to cover a wide range of styles 
and approaches from real to surreal, 
from barest outline to photographic 
detail, from the guy who works at a 
drawing steadily day by day, to the 


introduction puts the whole thing in 
the category of sensory overload. 

Another problem, writes Meglin is 
"...sociological reluctance to pay 
ultimate tribute to someone in his 
lifetime: superlatives are saved for 
eulogies.” 

Three cheers for Mr. Meglin for 
throwing out a few superlatives while 
these guys are still alive. They 
certainly deserve it, one and all. 
Anybody striving to be a humorist, or 
an artist, or just a people, can thank 
him for this bundle of encouragement 
in book form. It’s potent enough to 
rnake you witty in spite of yourself, 
but sane enough to show the work put 
in by the men who made it to the top. 

— Ed Summer 


DRACUU LIVES! 


DRACULA LIVES, but lt’» anything but a vamptra, Inatud,' 
DRACULA ia the Mila ul \2 new magazlnee direct Irom! 
England, Each isaue la In lull color throughout the book, 
featuring tha art of luch Spanlah greala aa Eataban Maroto 
who doaa the character WOLFF), Enrich Sic and J.M. Bm. 
Thaea 12 Iwoks contain art like you’ve never aeon before In 
your life! And the color la auparbly done. All on heavy card- 
board-like atock to Insure long readability. 

All theaa 'books ara In English text, meant lor the Brtlialr 
Isles, but imparted by THE MONSTER TIMES lor TMT 
maders. There are 12 fsaues of theaa full color extrava- 
ganzas. Thay can be purchased In Iota of six. In Tots of 
twelve or individually. A “mual have" addition to your comic 
art library. The greatest barbarians and the preltiaet ladlea 
inhabit these magazines. ) 


DRACULA 1 


Including a free color poster), 
si dIus 25c 


DRACULA 2, 
$1 ^us 25c 


DRACULA 3, 
$1 plus.2Sc 


DRACULA 5, 

$1plus2Sc $1 plus 25c 

SETOF DRACULA 1 thru 6, $7 (am 50c) 


series. To add your voice to the 
hopefuliy thunderous cry of "Bring 
Back STAR TREK!”, wfite to: 

Frank Yabians or Emmet Lavery 
5451 Marathon Street 
Los Angeles, Calif. 90038 

The latest chapter to be added to 
the growing list of STAR TRSk Clubs 
in the New York area is the Hunter 
College chapter. Another Fun City 
institute Of higher learning, Brooklyn 
College, recently held its STAR TREK 
REVIVA'L II. The program was 
highlighted by a showing of the STAR 
TREK "Blooper” reel, the Trouble 
With Tribbles episode, and a speech 
given by guest Joan Winston. 

WANT A RIDE, LITTLE GIRL? was 
the original title of a film featuring 
William Shatner as a pervert who 
preys upon hapless young women. 
The title has since been changed to 
the more sedate IMPULSE. 

Gene Roddenberry’s projected 
series. PLANET EARTH (formerly ' 
GENESIS II) looks like it's not going 
to make it into the Fall TV lineup after 
all. ABC aired the pilot show recently, 
but sufficient network interest failed ■ 
to be aroused. 

A new STAR TREK-oriented fanzine 
is out. THE STAR-FLEET HAND- 
BOOK will be published every two 
months and will feature STAR TREK 
articles, illustrations, diagrams, con- 
tests and the like. The premiere issue 
is highlighted by a profile on Captain 
Kirk. 

On the Literary Front, Leonard 
Nimoy has a book of poetry and 
photography out called YOU AND I, 
Published by Avon Books, the 
collection sells for $1.50. We’ll be 
running a review of Leonard's literary 
work next time in Trek Talk, so until 
then keep your digits intertwined that 
STAR TREK will rise again. (Also, it 
might not be a bad idea if you uncross 
your fingers long enough to dash off a 
letter to the previously mentioned 
address to hasten STAR TREK’S 
revival.) 


DRACULA 7, 
$1 plus 25c 


DRACULA 8. 
$1 plus 2SC 


DRACULA 9, 
51 plus 25c 


DRACULA 10, 
51 plus 25c 


DRACULA 11, 
$1 plus 25c 


DRACULA 12, 
$1 plus 25c 


SET OF DRACULA 7 thni 12, S7 (tavb 50c) 


I COMPLETE SET OF DRACULA 1 thru 12, $12.S0(sm $2.< 


ORACULA 1 IS1 A 2Set 
OnACULA2|S1 A 2Sc] 
OAACULA3it1A2Se| 
ORACULA 4 |S1 A2ScI 
ORACULASItlASScI 
ORACULA 6 111 A 2Se) 
ORACULA 7 111 A 26e! 
0RACULAa[llA2Se| 
ORACULAIISt A3Sc| 
ORACULA 10 111 A 2$e| 
ORACULA 11 111 A 2$e| 
DRACULA 12{t1 A 2SeI 
DRACULA 1-«|$7 OOj 
0RACULA7-ia 117.001 
DRACULA 1-12:112.10) 


THE MONSm BMES •OOKSHCLF 
f .0. Boa 5N. OM OmIam SMkm 
Nm YeA. Nm» Yoik tOOIt 

Pi««M Mod m* ttw following itams indicatod for whicfi 
I «nclos« my cfwck, cash or monay ordar, for 

S 

Piaasa maka chaek or monay ordar payaWa to THE 
MONSTER TIMES.Naw YoA Stala rasidants MUST add 
7%SalaaTaK. 


. State 


Trek laiK will be a regular feature of 
the TMT Teletype page, bringing you 
the latest news from the world of 
STAR TREK and current events in the 
lives of the people who brought you 
' .^hat undying sci-fi series. Aiding and 
abetting us in this quest for 
intergalactic info will be (among 
others) Bjo Trimble and Margaret A. 
Bastat both of whom publish Star 
Trek newsletters for the education 
and edification of Trekkies ’round the 
globe. ^ 

Hold on to your space helmets, 
STAR TREK freaks — joyous tidings 
may well be in store for you! 
According to an item in 
SCHLUTTAIMER/100 Proof, News- 
letter of S.T.A.R,, STAR TREK is 
slated to return as a feature-length 
live-action TV series. At present, the 
deal is still in the negotiations stage, 
with Paramount saying that it will 
return ST to TV if a network will take a 
13-week gamble on the project. In 
addition to this startling news, plans 
for a feature-length STAR TREK film 
are also being made and stand an 
even stronger chance to reach fruition 
than the proposed series. The original 
STAR TREK cast has already been 
contacted for possible reinstatement 
in the crew of the Enterprise, and 
chances are good that all will be 
available for the movie and all, with 
the possible exception of Bill 
Shatner, would be willing to return to 
the series as well. The STAR TREK 
newsletter urges Trekkies to write 
now to encourage plans for ST’s 
return and to mention that Rodden- 
berry should retain control of the 





Ifie Monster Timas 


■MiifRiiiTWBSTiiiiTLwffiT^B 


THE MONSTER TIMES BOOKSHELF is the only place where you field. We ve got the best bargains around, put them all under one 

can picK up all your favorite items in the horror fantasy and comic roof, and we’re just waiting for you to pick out your favorites! 


FABULOUS FRANK FRAZETTA POSTERS 

Fabulous Frank Frazetta posters, shot from oil paintiiias. All posters in full color! Each is 19" by 23" on art 
paper simulatir>g canvas. All suitable for framing. All Prazetta, all beautiful! 


Please note: ALL Posters are now $3.00 
plus 604 postage and handling. 



PI. WEREWOLF and cover 
of CREEPY 4. 


P2. BRAK THE BARBARA 
IAN, cover of paperback. 


P3. CONAN OF COMMEHIA 
cover of paperback. 


P4. CONAN THE CONQUE- 
ROR. cover of paperback. 


PS. SKIN DIVER, cover of 
CREEPY 3. 

P6 COMPLETE SET OF 
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ol EERIE 2. 


P18 COMPLETE SET OF 
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P.44JEFF JONES POST- 
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A set of three Jeh Jones 
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Available singularty each 
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Five full color movie oosters from the classic horror motion pictures. 
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Who, if given the opportunity, 
wouldn’t want to discuss this, that, 
perhaps even the other thing, with 
so celebrated a personage as 
Leonard Nimoy, once and future 
Mr. Spock of STAR TREK fame? 
Okay, we see that a few of you have 
your hands raised, but the vast 
majority of sci-fi fans would give 
their right antenna to engage in just 
such a conversation. So it was with 
TMT roving creature correspondent 
Jeff Horner, who cornered Leonard 
Nimoy during the latter’s recent 
visit to Fun City. 

In mid-April, Leonard Nimoy, 
known to Trekkies everywhere as 
Mr. Spock, beamed down to New 
York to give a lecture at NYU. Your 
intrepid TMT reporter was there 
and was able to get some comments 
on what Leonard thinks about 
STAR TREK and other topics of a 
vital and relevant nature. That 
momentous meeting of the minds 
transpired as follows: 

TMT: Are you afraid of being 
remembered as Mr. Spock instead 
of Leonard Nimoy? 

NIMOY: I probably will be remem- 
bered by a lot of people as Spock, 
but that’s typical in our business. 

TMT: Are you sorry STAR TREK is 
over? 

NIMOY: I don’t have any feelings 
about it one way or the other. It was 
a very exciting job, but we’re into 
other things right now. You can’t 
hang on to a thing like that and say, 
‘Gee, I wish I was doing STAR 
TREK.’ Times change, people 
change, life changes. Look, Bill 
Shatner did a set of margarine 
commercials. He’s an actor doing a 
job. They hire actors for those jobs, 
and he’s trying to make a living as 
an actor. 

TMT: How do you feel about the 
acting in the show? 

NIMOY: I think there was a lot of 
innovation in the show. We all 
contributed to try to make the show 
more believable by making our 
characters more believable. For 
•example, one script called for me to 
knock somebody out with the butt of 
my phaser. Now, that’s pretty silly 
considering it’s the Twenty-second 
Century, so I talked it over with 
Gene Roddenberry, and we decided 
that since the Vulcans knew so 
much about the body that by 
applying pressure in the right spot 
you could knock someone out. This 
became the Vulcan grip. Another 
episode, called Amok Time, was the 
first to use the Vulcan hand sign. 
This sign was needed because we 
needed a formal greeting, like 
shaking hands. Well, I grew up in a 
J ewish home and we would go to the 
synogogue on holidays. In one 
prayer, the men on the stage made 
that sign with their hands. I showed 
it to Gene and we adopted it. 

TMT: What do you think of the 
STAR TREK cartoons that are on 
Saturday mornings ? 

NIMOY: They’re only a half-hour 
and it’s difficult to develop as much 
of a story as you can in an hour 
show. You also don’t have the real 
people so the show has a somewhat 
sterile feeling, but I think it’s 


Leonard Nimoy as Mr.Spock assumes puzzled 
mien overcandid shots of Leonard Nimoy as 
Leonard Nimoy snapped by intrepid TMT photog 
rapherat recent Loeb Center lecture. 


remarkably good considering some 
o£the garbage it’s surrounded by on 
Saturday mornings. 

..TMT: What do you think about 
science fiction in general? 

NIMOY: I feel that we are living in a 
science fiction society. Science right 
now is ready to offer us things that 
we as a people are not ready to 
accept. Let me give you an example. 
There w^a front page article in the 
CHICAGO DAILY NEWS in Feb- 
ruary about body farming. It said 
that a doctor at Columbia Univer- 
sity said it is now possible to literal- 
ly farm the body after death and use 
it to produce fresh blood and organs 
for living people. He goes on to say 
that the problem is not a medical 
one, but one of getting the public to 
accept the fact of it being done. 
There have been a lot of stories and 
movies about this kind of thing. You 


Leonatxi 

Nimoy 


Jf 00 with N V Lt 10 and an coiiegt- students •ith iD 
2 SO general public 

U'fs.el .nlcm., COTTie tD LOCb 


This ad appearing in the VILLAGE VOICE helped 
spread the weird word that Spock had beamed 
down to Fun City for a high energy evening of 
scintillating conversation and good clean fun. 


know, grave robbers stealing 
corpses and delivering them to the 
doctor for experiments. Now the 
hospital can maintain their own 
bodies constantly. 

TMT: Is this the kind of scienee you 
are interested in? 

NIMOY: I am personally interested 
in the expanding of consciousness, 
and the writings of Carlos Castane- 
da. Not in the drug aspect but in 
the expanding of consciousness. 
They say that we only use 7% of our 
brain and that even Einstein used 
only about 20%. There must be 
other ways of using your mind, and 
I’m very curious. I don’t claim to 
understand what it’s all about — it’s 
something I’m trying to explore. 
The word vibrations has crept into 
our language in the last few years; I 
get good vibes from this or bad 
vibes from that. We all understand 
the term, but the concept behind it 
is totally fascinating because we 
really do feel these things, these 
vibrations. It’s a valid term for 
something that is otherwise inde- 
scribable. This is something that I’m 
very interested in. ■ 

[We wanted fo pursue further the topics Leonard 
had raised but Mr. Nimoy, unlike our intrepid 
TMT reporter, is a very busy man and had to 
depart for destinations unknown (perhaps even 
to boldly go where no man has gone before). 
Though the conversation terminated before its 
time, our creature correspondent— who claims 
to use less than 1 % of his brain but is still able to 
function, if not perfectly, then at least as well as 
could be expected— managed to provide us with 
what we hope have been some interesting 
comments from the former Mr. Spock. Should 
you get a chance to catch Leonard Nimoy if and 
when he beams down in your town, don’t let the 
opportunity pass you by.— Ed.] 


Tli« ■Moitrfteit iTImrfI 






Why Superheroines Leave Home 
Continued from page 7 

Marvel Comics’ VALKYRIE is sort of 
an artificial being, who was created by the 
Enchantre.ss. When she and the Defend- 
ers were held captive in the fourth issue of 
that group’s magazine, she used her 
powers to turn a madwoman into this 
overly-strong female. Since then, as the 
Enchantress had predicted, tfce Valkyrie’s 
artificial personality has totally sub- 
merged that of the woman she once was. 
Her madness is gone, but she has no real 
identity now. Actually, without the Black 
Knight’s magic sword and winged h orse, 
she isn’t much in the way of a 
superheroine anyway. As far as comic 
females go, the Valkyrie is probably the 
most dedicated Women’s Libber there is; 
she even resents helping the male 
members of her team. 

The third female favorite of mine from 
Marvel is the WASP. This adorable lady 
started out a long time ago in TALES TO 
ASTONISH (1965). When her father was 
murdered by a gruesome alien from 
another world,' scientist Henry Pym gave 
her the ability to shrink, sprout wings, 
and fly. After that, she and his alter-ego, 
Ant-Man, gave the killer what he 
deserved and began a long-lasting career 
together. Through the years, she’s been a 
loyal partner to:, Ant-Man, Giant-Man, the 
first Goliath and Yellowjacket (she even 
married this last chap). Amusingly 
enough, these four heroes are one and the 
same individual. 


I’ll never be able to understand the 
apparent success of DC’s WONDER 
WOMAN. She’s been going strong since 
her first appearance in ALL-STAR #8 
(1941), but I strongly suspect that the only 
people who buy her comic are children and 
hopieless adventure freaks (both of which I 
used to be). She’s one of the most 
atrocious characters ever, with herstupi^ 
get-up, juvenile dialogue, over-zealous 
patriotism, ridiculous powers, asinine 
origin, etc., etc., etc. 'To make things 
worse, now there are two of her! One lives 
on Earth I, and the other belongs to the 
JSA on Earth II! That explained why she 
and her robot plane have two separate 
orjgins. Worse yet, “our” Wonder Woman 
is- even dumber than the older one! 
Forgive me, but I don’t feel that Wonder 
Woman makes for interesting entertain- 
ment, nor does she, in my humble opinion, 
advance the image of Womankind any 
either. 

Our final (whew) heroine is DC’s 
ZATANNA, another dummy who’s 
merely an extension of her antiquated and 
none-too-alert father, Zatara. "rhe latter 
was introduced back in ACTION #1 (1938), 
along -with Superman. Both he and his 
offspring can perform magic tricks by 
saying things backwards. That’s all (nere 
is to it! !elbidercnL..I mean— Incredible! A 
few years back, she popped up in a 
number of magazines, attempting to 
locate her longlost father. Finally, in an 
issue of jySTICE LEAGUE OF AMER 
ICA, she found him, and the JLA helped 
her to rescue Zatara from another 
dimension. Of late, she’s had her own 
unspectacular series, but it appears to 
have been discontinued. No great loss, 
that. 

Well, that’s about the whole gang, 

I think. Among other things, I hope I’ve 
made it clear that superheroines are often 
relegated to playing relatively menial 
roles in comics. Usually they’re introduced 
merely to supply “cheesecake” value for 
the benefit of the adolescent male readers 
who comprise the vast majority of the 
comic book audience. I’m a bit surprised 
that female readers don’t complain more 
about the poor presentation of women in 
comics. Maybe they do, but their views 
aren’t aired in the letters pages of said 
comics. Let’s hope that the comics 
industry will wise up one day soon and 
show the superheroines that exist in a 
more independent light, as well as achieve 
a better sexual balance in the number of 
female vs. male super-persons. Other- 
wise, there’s a good chance that the 
maladjusted male adolescents who read 
the comics will grow up into maladjusted 
male adults who still read the coiYiics, like 
your author. We don’t want THAT to 
happen, do we‘? ■ 





page 28 


The Monster Times 



SOFIGE SANDERS 
BERV1.RED 
NICKf HENSON 
MARY LARKIN 


DEATH WHEELERS [1974] Directed 
by Don Sharp. Starring George 
Sanders, Beryl Reid, Nicky Henson, 
Mary Larkin, Roy Holder, Robert 
Hardy. 

Directed by Don Sharp, DEATH 
i/VHEELERS follows the “exploits of a 
rather amiably ill-mannered motor- 
cycle gang called the Living Dead, 
which is what they eventually become 
when ieader'Nicky Henson acts on 
the advice of devil worshippers Beryl 
Reid and George Sanders that if you 
believe strongly enough, you can 


THE TOUCH OF SATAN [1973] 
Directed by Don Henderson. Starring 
Emby Mellay, Lee Amber. 

THE TOUCH OF SATAN, dusted off 
the shelf along with 1972’s SISTERS 
OF SATAN, heads the season’s first 
doublebill exercise in cashing in on 


come back from the dead as a 
permanently indestructable force. 
Director Sharp plows much lampoon- 
ing of death into the film, as the gang 
members all kill themselves in order 
to come back, and there are a few 
adequately staged chase sequences. 
At the end. Beryl Reid somehow turns 
Into a frog (shades of THE MAZE), 
and there's a trick ending with 
Sanders on top of that. The best part 
of this British film, however, remains 
expert lensman Ted Moore's gor- 
geous color photography. — D.B. 


look her age. Don Henderson’s film is 
interesting and effective, as a 
rendering young male is led into the 
^family with predictably fatal results. 
In the end, to the strains of “Amazing 
ijSrace,” love is able to defeat evil; 
then, in a remarkable twist, is 


TTTE EXORCIST. The film proves that Responsible for its resurgence. The 


Satan is just as much at home in the 
country as he is in the city. TOUCH 
concerns a pair of sisters— Melissa, 
who has made a pact with the Devil 
about a century ago but who doesn’t 
look her age, and Lucinda, who likes 
to chop up people when she can get 
out of her iocked room, and who does 


most frightening thing in the world is 
a man embracing his own corruption, 
which is what TOUCH is finally all 
about. We wonder, too, at the .same 
time, if we don't all have a proper 
price for dqal-making with the Devil, 
should the opportunity ever arise.— 
L.B. 


LATE FILM ROUND-UP will be a 
semj-regular (or, more accurate- 
ly, a semi-irregular) TMT feature 
dedicated to nefarious news and 
fearless reviews of Fantasy Fiim- 
dom’s latest creations. Under the 
gruesome guidance of Media 
Editor R. Aiien Leider, with the 
eerie assistance of the TMT staff 


(J. John Kane), this feature wiil 
bring the fiim industry’s spawn of 
darkness under the bright tight of 
instructive criticism, concentrat- 
ing mainty on those fitms re- 
. leased over the past few months 
that we couldn’t, due to space 
limitations, cover in greater 
depth. The “late,” incidentally. 


means recent, not “dead” (al- 
though that certainly does apply 
in a startling number of in- 
stances). So before you run out to 
freely lavish your hard-earned 
cash on the latest celluloid 
atrocity, H would be wise to con- 
sult these pages first. The bread 
you save may be your own ... 



ANDY WARHOL’S FRANKENSTEIN 
[1974] Directed by Paul Morrissey. 
Starring Joe Dallesandro, Monique 
Van Vooren, Udo Kier, Arno Juerging, 
Srdjan Zelenovic, Dalila Di Lazzaro. 

Any movie that the DAILY NEWS 
judges “obscene" can’t be all bad. 

But ANDY WARHOLjS FRANK- 
ENSTEIN comes at you like a lead 
blimp; the film is so heavy that it 
doesn’t even bounce, like the earlier 
Warhol /Morrissey features, to lighten 
the burden of its own unreeling. Like 
a ghastly pinata, the film is stuffed to 
the seams with bloo.d and guts, 
waiting to be spilled. 

The filmmakers have paid only the 
merest lip-service to Mary Shelley. 


Dr. Frankenstein (played by Udo Kier 
with a ludicrous German accent that 
adds an extra dimension to the 
doctor’s super-race creating) wants to . 
found an entirely new nation to spring 
from the stitched loins of a pair of 
perfectly functioning “zombies.” He 
already has children of his own, 
whom he ignores, as he is^married to 
his sister, Katrin (Monique Van / 
Vooren, who plays, in a real coup of 
casting, a tired blonde sexpot). Joe 
Dallesandro, again portraying a bored 
innocent stud with a Brooklyn accent 
forced to suffer the misfortune of 
having every woman in sight pawing 
him, plays Nicholas, a simple 
peasant who investigates and eventu- 


ally, thoi^gh quite accidentally, foils 
the good ’doctor F. 

Morrissey makes no pretense of 
sustaining a storyline; the plot serves 
only to allow his characters to prance 
about in pretty much the same 
manner as they did in earlier, 
purposefully story-less Factory films. 
After a while, the comedy they 
produce demands a lot, from an 
audience. The fractured plot also 
serves to house a succession of 
shock effects, very nicely accom- 
plished but dismayingly explicit. 
Suffice it to say that animal entrails 
must have been in short supply at 
Italian butchers during the filming. (In 
a switch, the film is rated X for 
violence, not for sex.) One test of the 
modern horror film seems to be 
strength of stomach ; if you gagged at 
THE EXORCIST, you'd better bring 
along a spare plastic bag to 
FRANKENSTEIN. 

Perhaps the only positive reason 
for seeing the film is the 3-D process 
in which it is filmed. The system is 
still not perfected and at this late date 
probably won’t be. The 3-D effects are 
marvelous, although at times the film 
looks forced to demonstrate them a 
bit too artificially, like the early 
travelogues made to display the' 
3-projector, wrap-around screen 
cinerama process. The double 
images on the screen remain 
unintegrated, causing an uncom- 
fortable shift of focus between long 
and close shots. 

The Frankenstein legend has been 
taken to the cleaners— perhaps that 
figure of speech is not too apt, but 
horror. tans should be used to such 
treatment by now. Mel Brooks is 
preparing his version of Frankenstein 
at Fox — God knows what we have to 
look forward to. The '70s seem to be 
the age of debunking in all areas of 
life. Morrissey’s version, like every 
other Warhoi film that preceded if, 
ultimately falls under its own 
top-heavy weight: the self-indulgent 
campy performing (apart from Kier, 
one hesitates to call it acting) and the 
relentless blood and gore dripping 
into our very laps (the film seems to 
develop a quasi-religious symbol in 
people disembowelling themselves) 
and the headache one builds up 
battling the 3-D glasses all combine 
to defeat it. With the help of a goodly 
amount of Italian lira, a strange 
creature has truly been born ; from the 
swamps of the underground, Paul 
Morrissey stumbles into the 
scorched-earth world of mediocre 
commercial movies. — D.B. 



•CHRISTOPHER laPEnRCDSHIHG 

pnteirtivGENE MARTIN, 6,GENE martin xSCOT74/~^/W7a>»tnOW<U.l»«lM« 


HORROR EXPRESS [1974j Directed 
by Eugenio Martin. Starring Peter 
Cushing, Christopher Lee, Telly 
Savalas, Alberto de Mendoza. 

Formerly known as PANIC ON THE 
TRANSIBERIAN, HORROR EXPRESS 
relates the tale, set in 1906, of a 
scientist (Chris Lee) transporting a 
mysterious fossil — which turns out to 
be not too fossilized when it bregks 
loose and begins to attack various 
passengers, cleansing their brains of 
knowledge and leaving their eyes 
pupil-less and white, like Little 


Orphan Annie's. Since the kiilings are 
ail accomplished and photographed 
in the same manner, Eugenio Martin’s 
fiimed-in-Spain movie soon proves 
tiresome. Telly Savalas comes in 
during the next-to-last reel and 
contributes an outrageously uncon- 
trolled performance as a police chief; 
his scenery-chewing excesses, per- 
haps showing a contempt for his 
poverty-stricken filmic surroundings 
(a- contempt not shared by co-stars 
Lee and Peter Cushing), derail what’s 
left of the film and nearly the train 
itself. — J.R. 




Devil Woman 
with 
Voodoo 
Powers 
to raise the 
Savage Dead! 
She's 

S uper natural! 


The Times 


Meet SUGAR HILL 

and her 

OMBIE HITMEN! 


page 29 


THE BEAST MUST DIE [1974] 

■ Directed by Paul Annelt. Starring 
Calvin Lockhart, Peter Cushing, 
Charles Gray, Anton Diftring, Marlene 
Clark. Ciaran Madden, Tom Chadbon. 

Every year there seems to be a new 
werewolf movie. Last year's was the 
abominable BOY WHO CRIED 
WEREWOLF; this year’s appears to 
be THE BEAST MUST DIE. a British 
film from Amicus. First-time director 
Paul Annett brings little life to this 


derivative, colorless tale in which 
wealthy hunter Calvin Lockhart 
invites a gang of folks for a summer 
vacation at his estate in order to hunt 
the biggest game of all — one of the 
guests is a werewolf. There’s a 
50s-style gimmick included here, a 
30-second "Werewolf Break" near the 
end, in which we are supposed to 
guess which lucky suspect is IT. A 
good cast— including genre vets like 
Cushing, Anton Diffring and Charles 
Gray— is largely wasted here.— J.R. 


SUGAR HILL [1974] Directed by Paul 
Maslansky. Starring Marki Bey, 
Robert Quarry, Don Pedro Colley, 
Richard Lawson, Betty Anne Rees. 


Risen vertical corpses make lifeless 
horizontal ones out of the Haitian 
underworld in this entertaining horror 
blaxploitation-Mafia melange. Diana 
"Sugar" Hill won’t rest until the killers 
of her boyfriend are in their graves. 
Rather than copy Coffy’s style of 
decapitating the enemy with a 
sawed-off shotgurr. Sugar turns to* 
voodoo and channela her hate into 


tne control of zombie assassins 
summoned by cult priest Baron 
Samedi. Unaffected by pain, indiffer- 
ent to obstacles, the cobwebbed 
hit-stiffs finish off the Morgan mob 
with brute strength, quicksand and 
snakes. 

SUGAR HILL is appealingly non- 
conformist in the spate of black 
vengeance sagas that lately have been 
using female protagonists. Hokiness 
is abundant but the flick is fun, 
well-made and smartly set in the 
milieu most indigenous to the living 
dead. Marki Bey. while no threat to 
Pam Grier’s sovereignty, has the 


sweetness and properly proportioned 
physique befitting a girl with a name 
like Sugar. Baron Samedi is played by 
Don Pedro Colley, who was featured 
in THX-II38 and BENEATH' THE 
PLANET OF THE APES and is an 
actor worth watching. Bob Quarry, 
without his Count Yorga guise, is a 
persuasive gang leader and equally 
adept at playing smoothy down-to- 
earth baddies as he is vampires. 

SUGAR HILL may be the best 
zombie film there is— no giant 
accomplishment, that, when -Vpu 
consider how mediocre that genre is 
as a whole. — D.S. 


THE PYX [1973] Directed by Harvey 
Hart. Starring Karen Black, Christo- 
pher Plummer, Donald Pilon, Jean- 
Louis Roux, Yvette Brind'Amour, 
Jacques Godin. 

THE PYX begins with the midnight 
death-plunge of prostitute Karen 
Black. Police detective Christopher 
Plummer has only two clues to work 
with : an inverted cross necklace worn 
by the girl and an ornate pyx (in 
Catholicism, the locket used to 
transport the Host) clutched in her 
hand. 

Using the death as both a start- and 
end-point, the film fuses together the 
girl’s previous 24 hours with the 
detective's subsequent 24-hour in- 
vestigation. Canadian director Harvey 
Hart very cfeverly cuts together what 
are in effect two different stories 
about the same event : (1 ) why did the 
girl die, was it suicide or murder? and 


(2) will Plummer discover and capture 
the culprits involved? Each story 
comments on the other, and their 
expert, razor-sharp blending provides 
us information always just a few 
steps ahead of the detective. 

The only problem with this 
generally taut tale about religion and 
evil is that the ends of both “stories" 
are guessable and, therefore, 
downs. Also, the screenplay by 
Robert Schlitt simply doesn’t fill us in 
on information from the detective’s 
past which figures importantly in the 
climax. (Or perhaps Cinerama 
snipped some scenes here and there 
to shorten the film’s long running 
time. If so, it’s a shame.) 

, Nevertheless, the acting is finepthe 
camerawork spirited, and there is a 
vivid, dqtailed, and altogether fright- 
ening enactment of a Black Mass 
that’s disturbingly effective. — L.B. 





ARNOLD [1973] Directed by Georg 
Fenady. Starring Stella Stevens, 
Roddy McDowall, Elsa Lanchester, 
Shani Wallis, Farley Granger, Victor 
Buono, John McGiver, Bernard Fox, 
Patric Knowles. 

In ARNOLD, golddigger Stella 
Stevens marries the rich, stern 
patriarch of a family whose members 
turn out to be equally greedy, 
opportunistic, and murderous. 
Arnold, the gentleman of the title, 
happens to be dead right from the 
start— his funeral service doubles as 
a marriage ceremony — which is why 
'everyone in the family is poking 
around searching for his hidden 
money while, at the same time, one of 
them is doing everyone else in. For a 
while, as the family graveyard fills up 
faster than a parking lot near a ball 
park. It looks like Arnold, who has 
been cannily directing the proceed- 
ings via mailed cassette recordings, 
may not be dead at all and killing off 
his batty family out of a well-founded 
revenge motive. 

Georg Fenady’s film remains 
pleasant for its entire length, partly 
because its screenplay is con- 
sistently, sometimes blackly, funny 
and as a mystery is sufficiently 
intriguing (particularly clever are the 
various ways in which the family 
members are eliminated) and partly 
because a host of dependable British 
regulars provide bright, energetic 
performances. ARNOLD is the kind of 
movie you may be able to figure out. 
if you pay close attention, trust your 
instincts and suspect the least 
suspicious. But whether you do or 
not. the film is still fun. — D.B. 


THE TERMINAL MAN [1974] Directed 
by Mike Hodges. Starring George 
Segai, Joan. Hackett, Richard A. 
Dysart, Jill Clayburgh, Donald 
Moffatt, Matt Clark, Michael C. 
Gwynne, Norman Burton. 

A more appro’priate title for this 
lethargic loser would have been THE 
INTERMINABLE MAN. Director Mike 
Hodges’ adaptation of Michael 
Crichton’s best-selling novel spins 
its tale in virtual slow motion, filling 
the screen with pseudo-artistic 
images and killing in the process any 
attempts at suspense the slim and 
poorly rounded story might have had. 
George Segal tries his best to lend 
credibility to his role as Harry 
Benson, a scientist given to spells of 
homicidal rage who volunteers to 
have a tranquilizing mechanism 
implanted in his head in order to 
arrest the psychotic attacks. Need- 
less to say, the mechanism produces 
quite the opposite. effect, and Segal 
eventually embarks on a rampage of, 
abrupt and senseless violence. 
Purporting to be a semi-serious tract 
on the dangers of psycho-surgery, 
THE TERMINAL MAN is plodding, 
unsuspenseful, superficial and over- 
whelmingly irritating affair . that 
should be avoided at all costs. 
Politically significant homicidal ram- 
page enthusiasts would be better off 
catching George C. Scott’s RAGE if it 
ever- surfaces again, and psycho- 
surgery nuts would find it more 
rewarding to curl up with a copy of 
Ken Kesey’s ONE FLEW OVER THE 
CUCKOO’S N£ST. — J.K. 


THE SPECTRE OF EDGAR ALLLAN 
POE [1974] Written, produced and 
directed by Moby Quandour. Starring 
Robert Wajker, Cesar Romero, Tom 
Drake, Carol Ohmart. Mary Grover. 

Quandour’s film tries gamely to 
explain what changed Poe from a 
serious literary critic to a "neurotic" 
master of the macabre. Apparently . 
rejection slips from publishers had a 
lot to do with it; in consolation, the 
lovely Lenore coos, “Sweetheart, why 
don’t you save yourself this agony 
and concentrate on your stories and 
poems?" And that's just tor ■ 
openers... 

After almost being buried alive. 


Lenore is committed to an asylum 
under the care of doctor Cesar 
Romero, about whom Poe rightly has 
a few doubts. His suspicions are 
confirmed, and soon after the film 
melts into a gooey (PG) bloodbath as 
it falls back on that old movie 
chestnut; escaped lunatics running 
amok. 

The film is inept, with zero period 
detail, although Robert Walker looks 
very much like the historical Poe. 
Crazy or not, he continues to draw 
inspiration from Lenore (Mary Grover) 
whom he monotonously keeps 
remembering running through a 
sunny garden in slow motion. — D.B. 


They duplicated one man 
too many. 


They had to find him. 



I ne 

CLONOI 


THE CLONES [1974] Directed by 
Lamar Card and Paul Hunt. Starring 
Michael Greene, Gregory Sierra, Otis 
Young, Stanley Adams, Susan Hunt, 
Barbara Burgdorf, John Drew 
Barrymore. 

THE CLONES is an intensely 
alarmist sci-fier concerned with the 
forseeable misuses of cloning, a 
process of genetic duplication. 
Scientist Gerald Appleby (Michael 
Greene) barely escapes a lab 
explosion meant to kill him so that 
his clone would give the wrong 
people his knowledge of weather 
control, a power he himself would 
never willingly divulge. The Clone 
acquires Appleby’s conscience, and 
the pair team up to save his girl while 
they are mercilessly chased by two 
government agents (Gregory Sierra 
and Otis Young) ordered to liquidate 
them. 

Pressbook for THE CLONES quotes 
liberally from negative views on" the 
subject expressed by Senator John 
Tunney. Scare tactics have often been 
employed to hype movie campaigns, 
but as far as this particular film is 
concerned, I don’t know. "If it’s as 
sincere as it purports to be, a new 
breakthrough for creeping 1984ism 
may be just around the corner.- D.S. 


1 



page 30. 


The Monstei* Tillies 







THE CURSE OF 
THE WEREWOLF! 
Continued from page 5 


FATE FOILS LEON’S PLANS 

But fate seems to have other things in 
store for the young lovers. One Saturday 
evening Jose convinces his friend to 
accompany him to a certain establish- 
ment.. .and the two spend a wild night in 
the sordid company of drink and wild 
women. Toward the end of the evening, 
Leon becomes what a local lady friend 
describes as “ill;” he sees before him man 
at his lowest, greediest, most lustful.. .his 
brain seems to be overheating, his heart 
'bursting. He feels he must leave— 
’^mediately! 

~~'~The next morning Leon wakes in 
strange yet familiar surroundings.. .the 
home of Don Alfredo! As his foster father 
tries desperately to ascertain what 
happened, Leon notices something that 
sends icy chills up his spine..^his hands 
sfeeiii to be covered with blood! 

At last Leon learns the terrible truth 
about himself, “I think I can gain 
permission to enter you into a monastery 
under special supervision,” the priest 
asserts, “bgt until then I’m afraid you 
must be chained and watched, night and 
day.” 

Leon, his nerves already on edge, 
erupts at this suggestion. “Oh, yes,” he 
remarks bitterly, “that’s what they do to 
wild animals. And that’s all I am, an 
animal!” Tearing away from his home, the 
cursed young man wanders aimlessly 
through the grassy hills and twisted roads 
,of the surrounding countryside. He finally 
makes his way back to his place of 
employment, where his conscience is 
further taxed by the grim realization that 
Jose has not shown up for work this 
morning. “I neither know nor care where 
he- is,” his employer dryly announces. 
“He’s probably in jail, and you’re very 
lucky you’re not there with him!” 

That night Leon feels the horrible 
illness coming on once more, just as 


Leon again reverts to a bestial state, staggering through the darkness in search ot fresh victims. 
Unlike most other werewolf sagas, THE CURSE OF THE WEREWOLF dealt explicitly with the 
legendary link between lycanthropy and religion, as Leon’s night at a bawdy brofhel reactivates the 
curse originally received on the day of his sacreligious birth. 


Christina suddenly enters his room 
unannounced. Screaming ma^ for- ht ■ to- 
leave, he finally drops from exhaustion 
and awakes the next morning in 
Christina’s arms. She was with him the 
entire night— and he did not change! It 
was clear now what had happened: 
Christina’s love would give Leon the 
chance he needed to live a normal life! The 
pair make plans to leave their little village 
in* the morning, and perhaps find 
l^ppiness together. 

WEREWOLF BUSTED 

The following day finds Leon making 
arrangements to leave when a brisk 
knocking interrupts his chores. Through 
the bared window of his door, he sees 
three police officers grimly staring in and, 
expecting the worst, slowly turns the 
rusted key to allow them entry. The fat, 
mustachioed officer enters first, carrying 
some ripped garments. “Are these your 
clothes, Senor?” he asks coldly. Leon 
examines the blood-stained shirt and 


The day kindly Don Alfredo (Clifford Evans) discovered the pregnant se'rvant girl fumed out to be a 
fateful one for all concerned. Little did he know that the boy he adopted as his son would grow up to 
become a rampaging werewolf ... but those are the chances you take. 


trousers and numbly answers yes. 
“Leon Carido,” the fat man announces, “I 
km arresting you on a charge of murder!” 

Don Alfredo and the priest arrive at 
police headquarters later that day and try 
desperately to convince the authorities 
that Leon’s affliction is indeed real. “If you 
keep my son imprisoned tonight, he 
cannot be answerable for what happens. 
He will break out of jail and kill.. .kill 
wantonly and savagely! And you, Mr. 
Police Inspector, will be responsible!” 

The inquisition then begins. “Let me see 
your hands, and your teeth,” the police 
chief commands, and Leon obliges. 
Peering through the bars, the inispector is 
unimpressed. “Hmmm, I’ll need more 
witnesses.” 

Just then Christina bursts into the room 
and runs over to the imprisoned Leon. 
Annoyed, the police chief turns his 
attention to the lovely intruder. 

“Who is this woman? Who are you?” 

“My name is Christina Fernando, 
Senor.” 

“You know the prisoner?” 

“Why, we are engaged to be married!” 

“Oh, so you are engaged to be married,” 
the inspector adds, sarcastically. “So you 
know all about his. ..affliction?” Christina 
turns to Leon, hoping to somehow clear 
him of whatever trouble he is in, yet 
unable to hide her hopelessly confused 
expression. 

“So far as you know,” the inspector 
asserts, “this is a perfectly normal young 
man?” 

“Why.. .yes...” 

A cruel smile adorns the inspector’s 
lips. “I thought so! The prisoner* will 
remain here and stand trial.” 

Leon, realizing how "futile his situation 
has become, shouts to his beloved foster 
parent as he is leaving the prison. “Pepe 
the watchman has a silver bullet! Get it, 
father, and use it on me! You must!” Don 
Alfredo remembers how years ago Pepe 
had wounded Leon with that bullet, and 
how he returned it to the watchman days 
later, claiming he had found it embedded 
in a tree. Now, at the agonizing request of 
his son, he must seek Pepe’s weapon again 
and, if need be, use it on Leon! 


FULL MOON BLUES 

It was a quiet, still night. The moon, 
green and full, was just rising and its 


spectral rays weaved their way through 
the barred window of Leon Carido’s prison 
cell. Leon no longer fought against the 
first oncoming pains of the illness; he 
knew the final transformation was 
inevitable. He sat there, motionless, and 
watched his curled fingers darken, swell 
and become claws. His shirt, ripped to 
shreds, exposed patches of his chest that 
had already changed into animal tissue 
and hair. His face was burning, his vision 
difficult and unclear. There was a terrible 
pain in Leon’s mouth and jaw, and he was 
salivating uncontrollably. He felt the 
crunching thrust of jagged fangs, cutting 
through his g(ums and causing them to 
bleed. He felt the unbearable discomfort 
of his feet gfrovdng within his shoes' before 
the clawed toenails cut through and split 
the leather. He tried to talk, but couldn’t. ^ 
He was no longer Leon Carido; he was a 
vicious, murdering werewolf! 

In a spellbinding instant, the creature 
tore the heavy steel door from its hinges 
and buried the jailer completely beneath 
it. The creature had to escape.. .the 
rooftops, like the steep hills of the forest, 
appeared to be his only chance. He could 
see, scurrying below him like a thousand 
torch-lit insects, the frightened, panic- 
stricken villagers nervously following as 
he leapt from rooftop to rooftop, climbing, 
slipping, and climbing again. Then a 
searing, flashing burst of fiery -light 
whipped past him, and he knew that 
sooner or later one of the vfilager’s 
torches would strike on target and set him 
afire. The creature defiantly thrust a 
burning bushel of wheat at his terrified 
stalkers, and then started to scale the 
great church tower behind him. Out of the 
corner of his eye, he saw one man jyalk 
slowly from the crowd, a man unexcited 
and sad and with what looked like a long 
shotgun positioned firmly in his hands. 
The creature suddenly switched his 
attention to the screaming people below 
him, and then turned as he reached the 
rusted, crumbling beU tower to roar and 


Leon’s real father, the much-abused beggar, 
casts a final suspicious glance at the world that 
drove both father and son to madness, violence 
and horrible death. 

bellow defiantly. Suddenly he heard a 
clicking sound behind him, and whirled 
around to see that same man, his gjun 
aimed directly at him, his sweating hands 
nervously fondling the trigger. The man 
was Don Alfredo Carido and there was a 
tear in his eye. The gun fired and then 
there was nothing. The curse of the 
werewolf— and a young man’s life— were 
gone in a few violent seconds. The hapless 
lycanthrope would roar no more. The 
Curse of the Werewolf was stilled forever. 

CURSE OF THE WEREWOLF (1961) 88 
minutes. Directed by Terence Fisher. 
Screenplay by John Elder (Anthony - 
Hinds), from the novel THE WEREWOLF 
OF PARIS by Guy Endore. Starring 
Oliver Reed (Leon), Clifford Evans (Don 
Alfredo Carido), Hira Talfrey (Teresa), 
Catherine Feller (Christina), Yvonne 
Remain (Jailer’s Daughter), Anthony 
Dawson (Marquis), Richard Wordsworth 
(Beggar), Warren Mitchell (Pept 
Valiente). 


There is no need to apologize, 
Signorina,” Leon admk’ingly explains. 

If I don’t. I’m sure no one else will! I 
trust y ou’ll be happy here...” 

“Yes, Signorina, I’m sure I shall.” 

A few moments after the lovely young 
girl leaves, the clowning Jose adds a final 
wry conclusion to the conversation. “Yes, 
I’m sure you will too!” 

Leon and Christina grow very fond of 
each other, and soon, without even 
realizing it, fall deeply in love. But a 
problem threatens their happiness: 
Christina is engaged to marry Rico 
Gom'ez, the son of a rich baron, in a union 
arranged and endorsed by Christina’a 
father. Leon decides that the only way out 
of the situation is to ask Christina to run 
away with him and never return. 



The Monster Times 



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MONSTER MONEY is available by 
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bill, THE BIG G. appears on the $20 
bill, and old FRANKENSTEIN comes 
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Money only 75 cents per package 
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For Sale: 35" by 50” oil 
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for color photos write: 
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Selling old issues of 
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Urgently wanted : Post- 
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prices to: Curtis Collins, 
403 Lynnwood Lane, 
Jackson, MS 39206. 


Wanted: Back issues of 
Photon. Send issue num- 
ber and asking price to 
Derek Jensen, 74^ Vill- 
age Dr., Prairie Village, 
KS 66208. 


Wanted: Pen pal inter- 
ested in horror movies 
and The Exorcist. Con- 
taci Frank Wimmer, P.O. 
Box 434, Fort Mil), SC 
29715. 

ror sale: Famous Mon- 
sters #51, 53, 55-59, 
61-66, 69, and 197(5 
yearbook $1 .25 ea. Want- 
ed: science fiction pho- 
tos, stills, slides, post- 
ers, etc. Also models 
from space movies of TV 
shows, 2001, Lost in 
Space, etc. Michael 
Gamache, 18 Garrison 
St., Brunswick. ME04011 

Read this ad! Collector’s 
House sells comics, 
Warren magazines, stills, 
books, StarTrek material. 
Mads, etc. Good selec- 
tion with extremely'low 

§ rices and fast delivery. 

end SASE and 104 for 
catalog to: Collector’s 
House, 15411 SE4th St., 
Bellevue, WA 98007. 

Wanted: Doc Savage 
pulps and paperbacks in 
good condition, send 
fists and prices to Chris 
Borley, 110 New Hyde 
Park Road, Garden City, 
NY 11 530. 

Wanted: Wacky Packs 
trading cards series 1-3. 
Will pay reasonable price. 
Send list to: Bubba Avin- 
ger, 2837 Biltmore, Mont- 
gomery, AL36109. . 

Wanted: Any Godzilla 
and Qammera posters. 
Byron Myers. 475 Lan- 
tar\a Rd.. Crossville. TN 
38555 

Sale! Planet Ape movie 
stills. Black-n-White. 8 
from each movie except 
last two. 8 for $4. 24 for 
$12. Gary Gillespie, 510 
W. John St.. Springfield, 
OH 45506. 


Ape lovers wanted: im 
buying and sellirig ape 
planef material, f love 
apes and will correspond 
with those with same 
interests. Contact: Brett 
Koegler, 9 Lenape Dr., 
Montville, NJr-"'^ 


Halloween is coming and 
someone with the initials 
L.N. in Columbia, SC is 
going to be 15 years old! 
Happy Cycling, Junior! 

Wanted; Anything that 
has to do with Godzilla 
and his friends and foes. 
Send lists and prices to: 
Ted Clark, 1676 W. 
Sunset, Decatur, IL 62522 

Wanted: TMT back is- 
sues 7,8,9,12,16,17,18, 
send price list to John 
Pokriots, 1210 Steinway 
Ave., Campbell, CA. 

Wanted: Anythirm on 
Star Trek or dorben 
Comics. Send to Keith 
Primm, 6901 E, 24th St., 
Tucson, AZ 86711 with 
price "CHEAP.” 

Wanted: Anything having 
to do with Star Trek. Also 
Marvel Werewolf by Night 
comics. Calvin Thomas, 
31 8 Michael Ave., Spring- 
dale. AR 72764. 

4-D Magazine. Asimov, 
Bloch, Binder, Campbell, 
Frazetta, Foss, StarTrek. 
754, no subscriptions. 
From Boruta, 11 W. 
Linden Ave., Linden, NJ 
07036. 

Science fiction film stills 
for sale. Mostly 50s and 
60s low budget. Cver ^ 
Japanese titles. Send 
stamped, self-addressed 
envelope for lists. Crea- 
tures of Destruction, 
P C. Box 97, Southport, 
CT 06490. 

Star Trek fans! Star Trek 
model kits, books, post- 
ers. New Galileo Shuttle- 
craft kits and phaser 
models. Write for cata- 
log, enclose 1 04 postage. 
Trekkie Enterprises, 
11300 Lansdowne, De- 
troit, Ml 48224. 

Horror / science-fiction 
movie material for sale. 
Comic books, posters, 
sound tracks, Inclu^g 
Frankenstein and The 
Mummy etc. Send 354 for 
list to: Mike Feaster, 422 
South St.. Pekin, IL 
61554. 

Selling comic books, 
pulps. Playboys, horror 
magazines, ECs, big little 
books, Walt Disney, pre- 
miums, movie and serial 
pressbooks, lobby cards, 
posters, photos, etc. 
1900-1974, catalogues 
754. Rogofsky. Box 
MT1102, Flushing , NY 
11354. 

Wanted: Record sound- 
tracks of Dr. No., Thun- 
derbfrds, Crego. Journey 
to the Far Side of the Sun, 
and Casino Royale. David 
Hirsch, 26 Harriet Dr., 
Syosset, NY11791. 

Comic collectors: The 
first complete Marvel 
checklist available! Cniy 
504. Includes magazines 
and giant-size, humor 
magazine checklist, 204, 
DC list coming! Check- 
ist, 262 Garner Rd., 
North Brunswick, NJ 
08902. 


Newspaper comic strips 
for sale. Over 150,000 
dailies and Sundays from 
1929 to 1959 in stock. Our 
latest catalogue (#7) fea- 
tures complete runs of 
Dick Tracy, Terry, L.O. 
Annie. Mutt & Jeff, 
Mickey Mouse, and many 
more. All of our strips are 
in Mint condition. For 
catalogue #7 send 504 in 
coin to: The Paper Shop, 
1391 Beckworth Ave., 
London, Ontario, Canada 
N5V2K4. 


WANTED — WANTED!!!' 
Old radio and comix 
premiums, to expand our 
museum of relics, trivia 
and the lore of 20th 
Century pop-art. Things 
like the BUCK ROGERS 
PISTOL, or a CAPTAIN 
MIDNICaHT DECODER 
RING ... and all the rest 
of the stuff. These things 
have a place in our 
history, and we have a 
place for them on our 
shelves. Please send 
description and condi- 
tion of items, plus the 
price you’re asking, to 
THE MONSTER TiMeS 
MUSEUM, P.O. Box 595, 
Old Chelsea Station, 
New York, N.Y. 10011. 


Journey Into Darkness, 
new fanzine, #1, Vincent 
Price story, Peter Cush- 
ing Interview, movie re- 
views. 754 to Randy Vest, 
3324 Ave. H, Council 
Bluffs. IA51501. 

Wanted; Anything to do 
with horror movies or Star 
Trek. Will pay reasonable 
prices. Please send 
prices to Kevin Connell, 
7211 Via Bella, San Jose, 
CA95139. ’ 

Will buy issues 1,5, 6, 7, 
18,15,^Tomb of Dracula 
comics. Patti Nead, 507 
Circle Drive, Arlington. 
TX -76010. Good condi- 
tion, price. 

Louise J., you are great. 
From me. Steve. 

Slop. A new, funny comic 
book only .50 + .20 
(postag^. No checks or 
CODs. ^nd to William 
Hohauser, 42 E. 65 St.. 
New York, NY 10021. 

Karate! 2 exciting origin- 
al 27x41 movie cdisters. 
Collector items. Karate: 
The Hand of C^th, and 
Duel of the Iron Fist. Both 
posters for $3.45 includ- 
ing postage and Insur- 
ance. Ofoer from The 
Movie Gallery', 2491 Mer- 
rick Road, BeJ’more. NY 
11710. 

Wanted: Girls, interested- 
in forming a Barbarella ' 
fan club. One of you can 
be the president. Phil 
King, c/ o Carter’s Beach, 
Erie, PA 16511. Phone 
814-899-2230. 

Qaleidoskope covers ac- 
tion and adventure film 
personalities, including 
some Asian martial film 
personalities. News on 
when there may be future 
openings in its various 
Clubs will be announced 
thru these publications. 
Annual Subscription 
rates are 5.00 per year 
(four copies). Our Social 
Harryhausen issue is $31 
The original Bruce Lee 
Club is closed to new 
membership indefinitely! 
No answers to inquiries 
without a stamped self 
address^ envelope! Box 
412, CooperStatlon, New 
York, NY 10003. 

New and used 8mm 
films, comics, monster 
mags, models, books, 
etc. Send for free cata- 
to^e. John Vandegrift, 


Butler St., 

burg,PA17103. 


Harrls- 


Buy ~ Sell — Trade at 
Supersnipe Comic Book 
Art Emporium. 1617 Sec- 
ond Ave., NYC 10028 
(212) 879-9628. New & 
old comics, original art, 
big little books, movie 
memorabilia, science fic- 
tion, & The Monster 
Times. 


Pin-ups, Portraits, Press 
Books, Physique Poses, 
50 years or Scenes from 
motion pictures, west- 
erns. horror, musicals, 
etc. Movie star news. 212 
East 14 St., NYC, New 
York, come in person 
Mon.-Fri. 1-6, Sat. 1-5. 


i 


Enclosed is $. 


for my. 


.word (minimum 25) classified ad. 


NAME. 

CITY 


ADDRESS. 

STATE 


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